tag:blogger.com,1999:blog-87534209877632051112024-03-12T22:37:51.866-05:00Textual Cultures, Material CulturesWriting on Culture and Cultural History in the Ancient World and the PresentMichaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-8753420987763205111.post-17120496620972839392020-07-15T09:21:00.001-05:002020-07-15T09:21:09.260-05:00The Other Yavne<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "arial" , sans-serif; font-size: x-small;">The houses of Yibna surrounding the village mosque <a href="http://www.iaa-archives.org.il/zoom/zoom.aspx?id=99838&folder_id=19116&type_id=&loc_id=15784" target="_blank">during the British Mandate</a> (left); what's left in 2012 (right)</span></div>
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<span style="font-family: "arial" , sans-serif;">Can Yavne help the cause of justice in Israel-Palestine? For his vision of <a href="https://jewishcurrents.org/yavne-a-jewish-case-for-equality-in-israel-palestine/" style="color: #954f72;">a single state with equality for Jews and Palestinians</a>, Peter Beinart invokes it and its pivotal place in Jewish history. Yavne, where Yochanan ben Zakkai asked the Roman general Vespasian to let him establish a school when the destruction of the Temple was imminent. Yavne, where the foundations of rabbinic Judaism were set. It can be hard to grasp that importance on the spot today. Modern Yavne is a small city of some 50,000 people between Tel Aviv and Gaza. When my wife and I lived in Israel, our main impression was the smell of trash as you passed the city on Highway 4, leading us to dub it the New Jersey of Israel. On the other side of the city from the landfill, alongside the railway line, is a tell, a mound that marks the spot of the ancient town. Visit it today and there’s not much to see from its ancient past. (There have been archaeological excavations here but nothing impressive in the way of ancient architectural finds on the ground.) Amid the overgrown weeds and dirt, it’s hard to see more than a <a href="https://www.tabletmag.com/sections/belief/articles/memory-malpractice-beinart" style="color: #954f72;">“dusty coastal village”</a> of the first century here.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">This isn’t the only reason Yavne’s importance is hard to imagine. When I visited the tell with a couple of friends several years ago, one of them, a scholar of early Judaism, announced something to the effect of “This is the place where the rabbis didn’t canonize the Bible.” I was surprised. I’d never heard the reality behind this story questioned before. But such questioning really has become routine in Jewish Studies over the last few decades. Then there’s the Talmud’s mythical tale of how Yochanan ben Zakkai won Yavne for the rabbis, by predicting that the Roman general Vespasian would become emperor. It’s too convenient, and it’s remarkably similar to the Jewish historian Josephus’s claim (written much earlier) that <i>he</i> was granted favor by Vespasian after predicting his rise to emperor. So much about Yavne’s place in Jewish history probably never happened.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Ancient Yavne itself was very much a real place, though, and for long after the first century. At the mound today, besides the weeds and the occasional excavation trench, you’ll see cactus hedges running along it, the telltale sign that there were once Arab fields here. People continued to live in the village long after the Sanhedrin, and Hebrew Yavne became Arabic Yibna. It was a district center under the early Muslim caliphates, minting its own coins; famous for its figs, according to the tenth-century resident of Jerusalem al-Muqaddasi; the site of the Crusader castle of Ibelin; and later reduced in size to a village, though a large and important one along the main north-south road. The residents were there throughout, for some 1850 years after Yohanan ben Zakkai, until 1948, when they either fled or were forced out by the armed forces of the new state of Israel, never allowed to return. The village was then demolished. About the only structure left on the mound that was the village of Yibna is the minaret of a mosque, built in the 1300s. The minaret stands there alone – the rest of the mosque was <a href="https://www.haaretz.com/1.4950011" style="color: #954f72;">destroyed by Moshe Dayan in 1950</a>, as part of his campaign to demolish Islamic holy sites in the region. The modern Israeli city of Yavne was not a continuation but a replacement: it grew up alongside the mound, but the mound itself was left empty. <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Yibna by itself was not a place of great importance. But it surely mattered to the Palestinians who lived there, like the hundreds of other villages that met a similar fate in 1948. Its absence from recent invocations of Yavne is a fitting symbol, showing how easily even well-meaning plans leave Palestinians out of their own history – and their own future. How can Yavne serve as a model for a shared Jewish/Palestinian state if we mention only the brief (semi-legendary) moment of its importance to Jewish history, and aren’t even aware of its much longer existence as an Arab village? The “dusty old village” of the first century, after all, was the same place as the “dusty old village” from which Palestinians were evicted in 1948. Is there a way we can refocus on a more complete history of Yavne? <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Just off of the mound of Yibna is an old shrine. For at least 800 years this was the tomb of Abu Hurayra, one of the companions of Muhammad. It was an important shrine, renovated and expanded under the auspices of the Mamluk sultans of Egypt themselves in the late 13<span style="font-size: x-small;">th </span>century. Today, with the Arab residents gone, it now serves for Orthodox Jews as the tomb of Rabban Gamaliel of the Sanhedrin. The Arabic inscriptions left on the cenotaph – the sarcophagus in the center of the shrine – by worshiping Muslims is now covered over or cleaned off, the Muslim graves outside the shrine removed. Like Yavne’s place in Jewish history, this shrine’s origins are mixed with legend: Abu Hurayra was widely believed to have died and been buried in Medina, and he had at least two other tombs in what is now Israel. There isn’t any evidence that this building was originally connected with Gamaliel, either – though medieval Jewish travelers in the 13</span><span style="font-family: "arial" , sans-serif; font-size: x-small;">th</span><span style="font-family: "arial" , sans-serif;"> and 14</span><span style="font-family: "arial" , sans-serif; font-size: x-small;">th </span><span style="font-family: "arial" , sans-serif;">centuries already identified it as his tomb. But what this does mean is that, centuries ago at least, the shrine was a shared holy place. Maybe this is the Yavne we should use as a model, a starting point to reconcile past and present, Jew and Arab.<o:p></o:p></span><br />
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<span style="font-size: x-small;">The tomb of Abu Hurayra/Rabban Gamliel <a href="http://www.iaa-archives.org.il/zoom/zoom.aspx?folder_id=19116&type_id=&id=99841" target="_blank">during the British Mandate</a> (left) and 2012 (right)</span></div>
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<br />Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com1tag:blogger.com,1999:blog-8753420987763205111.post-4071864499174594832020-05-15T08:19:00.000-05:002020-05-15T08:19:02.779-05:00Little Richard, Two Days in the Life<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
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<span style="font-family: "arial" , sans-serif; font-size: x-small;">Little Richard and his band in <i>Mister Rock 'n' Roll</i> (1957)</span></div>
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<i><span style="font-family: "arial" , sans-serif;">Scene One</span></i><span style="font-family: "arial" , sans-serif;">. September 13, 1955. J&M Music Shop, 838-840 North Rampart Street, New Orleans. A warm, rainy day. Richard Penniman arrives early in the morning with three of his bandmates at the music shop, on the corner of Rampart and Dumaine at the edge of the French Quarter. They meet one of the owners, Cosimo Matassa, who operates a small recording studio at the back of the store. (I make the journey to the same spot 54 years later, only now the building is a laundromat named – with a double pun – “The Clothes Spin”, a picture of a vinyl record behind the name on the sign. Now it’s apparently a different laundromat.)<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Fats Domino had already made the studio famous. Now Specialty Records decided to try some recordings with Penniman here. Penniman had been making rhythm and blues records as Little Richard for a few years without success. The session in New Orleans was little different. On the first day and into the second, Richard recorded standard early 1950s blues fare, a lot like Billy Wright, Richard’s early idol – competent but not very memorable.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">As the story goes, Richard takes a lunch break with the band and the producer at a local restaurant, where he begins fooling around on the piano with a joke song from his club routine, and lightning strikes. Richard trades that restrained blues crooning for something much wilder and shows off tricks he learned from an obscure piano player named Esquerita, pounding the piano high on the treble. Did it really happen this way? It’s a common tale – take Elvis, Scotty Moore, and Bill Black fooling around during a break in a lackluster session to create “That’s All Right Mama”. Whatever the truth, the story continues that Richard returned to the studio and sang the same song to songwriter Dorothy LaBostrie so she can clean it up – facing the wall instead of her because he was so embarrassed by the lyrics: “Tutti Frutti, good booty, if it don’t fit, don’t force it, you can grease it, make it easy . . .”<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">In typical fairytale fashion, La Bostrie finishes the revised lyric with 15 minutes to spare before the session ends, the band cuts three takes, and Richard’s first hit single is in the can.<o:p></o:p></span></div>
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<i><span style="font-family: "arial" , sans-serif;">Scene Two</span></i><span style="font-family: "arial" , sans-serif;">. 1710 Virginia Road, Los Angeles, a year and a half later. A luxurious home in the Sugar Hill neighborhood. A gold Cadillac in the drive.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">A knock on the door.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Richard’s mother and brothers and sisters, all of whom he had packed up and moved from Georgia into his new house in Los Angeles, were used to famous guests and hangers-on coming by constantly. But this knock wasn’t from Chuck Berry or James Brown or someone just looking for money. It was a missionary from a local church named Wilbur Gulley. Richard had grown up in Baptist and Methodist and Pentecostal churches, listening to the music and singing gospel with his family. Now he was born again.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Brother Wilbur put Richard in touch with Joe Lutcher, who had briefly been an R&B star eight or nine years earlier and was now a born-again Seventh-Day Adventist. Lutcher could relate to Richard, the pressures and conflicts he was feeling. A few months later, Richard announced he was leaving show business, and the rock ‘n’ roll lifestyle that came with it, in the middle of a tour of Australia. He cut the tour short to head home, making plans to study theology and evangelize.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Little Richard’s career and his whole life were split between the sacred and the profane. And for Richard it really was “profane”. Over the decades he would pinball between rock ‘n’ roll and gospel, a wild life on the road and devoting his life to god, the proverbial angel and devil on opposite shoulders.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">As a rocker, Richard’s performances were wild, his hair was wild, and the words to his songs suggestive. In the 1956 film <i>Don’t Knock the Rock</i> Richard plays “Long Tall Sally” with his leg raised, stretched out straight onto the piano, as a sax player solos on top of the piano. Was the pose phallic? The song, after all, is about Sally “built for speed” with “everything that Uncle John needs” (as he is apparently cheating on Aunt Mary).<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: x-small;">Little Richard in <i>Don't Knock the Rock</i> (1956)</span></div>
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<span style="font-family: "arial" , sans-serif;">But Richard was also one of the few stars of 50s rock ‘n’ roll with a deep gospel background; besides him there were only a few R&B voices like Sam Cooke and Clyde McPhatter and the music of Ray Charles. A decade later and Richard could’ve been a great soul singer. Listen to “I Don’t Know What You’ve Got But It’s Got Me”, a soul ballad he released as a single in the fall of 1965. Today the song is best known for featuring an unknown 22-year-old guitarist who called himself Maurice James, before he reverted to his birth name of Jimi Hendrix. But on the recording Richard is the star – he preaches, he pleads, he bares his soul.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">After returning to secular music in the early 1960s, Richard had only the occasional minor hit – “I Don’t Know What You’ve Got”, 1970’s “Freedom Blues”. He would instead be largely remembered for his past, for being “The Originator”, “The Architect of Rock ‘n’ Roll”. Now his music was overshadowed by his influence. James Brown and Otis Redding started out idolizing Richard and copying his moves. The Beatles covered several of his songs live and on record.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Whatever Little Richard owed to someone like Esquerita, he really was an originator. Esquerita eventually recorded for Capitol, but his playing there is erratic, his singing hoarse, and the overall effect chaotic. By contrast, Richard’s performances are controlled and powerful. Somehow he had managed to harness all of that energy and gospel fervor on two-minute recordings. <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif;">Listening to Little Richard’s records now, we hear more than 50s rock ‘n’ roll nostalgia. His best songs are joyous, exhilarating, moving even today. And that’s what really matters.</span><br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/5ydBkmgJi-g" width="560"></iframe>Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com0tag:blogger.com,1999:blog-8753420987763205111.post-19170084533607061212019-11-04T21:41:00.001-06:002019-11-05T09:16:39.888-06:00Mark Twain, Not-So-Innocent Abroad<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfqGDzAG7AbLxoNiC_toYbbSJm6UkKQSj2O94l8PqyFMDKmEsRRn_UHJ09PHurFlR4uSD4AO4uV0t_nqRlXd_VaPgxTQAf1NgV9-8t_-bw8QrYxYoaOZdReuG8yz_IU0QFiqivk9R4q4g/s1600/LoC+Twain.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="1008" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfqGDzAG7AbLxoNiC_toYbbSJm6UkKQSj2O94l8PqyFMDKmEsRRn_UHJ09PHurFlR4uSD4AO4uV0t_nqRlXd_VaPgxTQAf1NgV9-8t_-bw8QrYxYoaOZdReuG8yz_IU0QFiqivk9R4q4g/s400/LoC+Twain.jpg" width="265" /></a></div>
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<span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;">Photo via <a href="https://www.loc.gov/pictures/item/2004678589/" target="_blank">Library of Congress</a></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It was about the
first of September, 1867, in Constantinople. A group of eight Americans walked
into the studios of Abdullah Frères, three Armenian brothers who were renowned
photographers — “photographers to the Sultan”, as they promoted themselves.
Abdullah Frères were famous for their views of Constantinople and their
portraits of prominent figures in the Ottoman empire. But the photographs they
took of the Americans that day might be the most historic images they would
make. For the American tourists were passengers on the <i style="mso-bidi-font-style: normal;">Quaker City</i>, the first American cruise ship to tour the
Mediterranean. And among their number, not yet 32, was a young man named Sam
Clemens, just beginning to make a name for himself as Mark Twain.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">In his photograph
from Abdullah Frères, Twain is a youngish man with dark, scraggly hair — how
different from the gray-headed elder statesman we usually imagine! — but his
face is still distinctly Twain’s. The same narrow eyes, the same mustache, the
same look of vague disapproval all stare back from the studio portrait. “They
take the finest photographs in the world here,” he wrote back to his mother.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">At the time, Twain
was a journalist who had managed to finagle his way onto the <i style="mso-bidi-font-style: normal;">Quaker City</i> cruise. He had convinced his
employer, the <i style="mso-bidi-font-style: normal;">Daily Alta California</i>
of San Francisco, to pay for his fare, in return for covering the journey in a
series of letters to be published in the paper. The letters proved popular.
That led to a book, <i style="mso-bidi-font-style: normal;">The Innocents Abroad,
or the New Pilgrims’ Progress</i> (dedicated by Twain to “my aged mother”), published
150 years ago this year.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Tom Sawyer and
Huck Finn may rule children’s literature lists and school curricula today, but
in Twain’s lifetime it was his autobiographical works that sold the best — <i style="mso-bidi-font-style: normal;">Roughing It, Life on the Mississippi,</i>
and, above all, <i style="mso-bidi-font-style: normal;">The Innocents Abroad</i>.
That judgment wasn’t restricted to 19th-century buyers, either; George
Orwell, for one, considered them “his best and most characteristic books.”</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">What made <i style="mso-bidi-font-style: normal;">The Innocents Abroad</i> such a success? For
one thing, travel literature was popular with audiences, and Twain’s book fit
in the genre, if somewhat uncomfortably. Twain keeps writing of his disappointment
with the people and places he meets, especially in Palestine. This was nothing
new in travel writing. What <i style="mso-bidi-font-style: normal;">was</i> new
was Twain expressing that disappointment by mocking and insulting travelers and
travel writers for paying lip service to the pieties of travel, with their
expressions of awe and sentimentality. And he pioneered the image of the
boorish American traveling overseas, even titling his lecture tour promoting
the book “The American Vandal Abroad.”</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">But it was all an
act. From his first national success, “The Celebrated Jumping Frog of Calaveras
County,” and even before, Twain was honing his brand of sleight of hand and
misdirection in print. Part wisecracking comedian, part con-man, Twain was
something new — and distinctly American — on the literary scene. With <i style="mso-bidi-font-style: normal;">The Innocents Abroad</i>, we are lucky that
we have so many steps of the con in evidence. Between his travel notebooks, his
letters, and the final product, we can see Twain constantly reworking his
humor. Sometimes this is to smooth off the rough edges to make it appeal to an
Eastern audience, and not just the readers of the <i style="mso-bidi-font-style: normal;">Daily Alta California</i>. Other times, it is apparently just to make
it funnier.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">At the time, <i style="mso-bidi-font-style: normal;">The Innocents Abroad</i> was widely hailed
as a masterpiece of humor. Critics and other writers hailed the funniest scenes.
A favorite was Twain at the Church of the Holy Sepulchre, weeping over the
grave of his ancestor Adam — as in Adam and Eve — because they never had the
chance to meet. If the absurdity weren’t clear enough, Twain often marked such
jokes by footnotes: “Stated to me for a fact. I only tell it as I got it. I am
willing to believe it. I can believe any thing.”</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Reading through the
book today, though, we become less sure what to make of Twain’s humor. Some of
it is deeply disturbing, as Twain describes meeting “the wildest horde of
half-naked savages” and pictures himself daydreaming about exterminating
tribes. This has to be black humor, we tell ourselves, but when we read other
writing of the time we begin to wonder. “I believe in the existence of inferior
races, and would like to see them exterminated,” Arthur Evans (not yet the
famed discoverer of Minoan culture on Crete) could casually write about the
Bosniaks of the Balkans, just a few years later.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">So perhaps it is
not surprising that, even though it seems unlikely that anyone would take <i style="mso-bidi-font-style: normal;">The Innocents Abroad</i> as a serious
representation of the people and places it describes, this is precisely what
has ended up happening. Twain’s morbid joke that train engines in Egypt used
mummies for fuel (“sometimes one hears the profane engineer call out pettishly,
“D—n these plebeians, they don’t burn worth a scent — pass out a King!”) has
led to claims up to the present that this was once a common practice in the
country. There is a famous quote at the end of the book about the positive
effects of travel — “fatal to prejudice, bigotry, and narrow-mindedness, and
many of our people need it sorely on these accounts” — coming after Twain has
spent some 600 pages viciously mocking the lands he has visited, the people who
live in them, his fellow travelers, and anyone else in sight. Yet the quote is
famous because it is often taken as a serious argument by advocates for travel,
with Twain hailed for his progressive views.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Above all, it is
Twain’s description of 1860s Palestine that has come to be treated humorlessly
as documentary evidence. Everyone from Benjamin Netanyahu to Alan Dershowitz,
and many in between, have taken <i style="mso-bidi-font-style: normal;">The
Innocents Abroad</i> at face value here. At least, they have taken parts of it
at face value — the parts where he describes Ottoman Palestine as desolate and
empty (and not the parts where he doesn’t). They use the same few quotes, with
the same ellipses, and in one case give the same wrong location for the scene
Twain was describing. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">All of this was
far in the future when Twain was first approached by a publisher in November of
1867, days after his return, about turning his letters into a book. He clearly
had his records of the trip on his mind when he wrote to Emma Beach, one of his
fellow travelers on the <i style="mso-bidi-font-style: normal;">Quaker City</i>, a
month and a half later. Looking for his photographs from Abdullah Frères — the
ones he had praised so highly to his mother — Twain found he had misplaced
them. “I have searched everywhere for my photographs, but I cannot find a
single one,” he informed her. “Those Constantinople pictures were very bad,
though. I might almost as well send you a photograph of the Sphynx — it would
look as much like me.”</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">If there’s a
lesson to be learned here, in other words, it’s how dangerous it is to take
anything Mark Twain says at face value.</span></div>
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</style>Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com1tag:blogger.com,1999:blog-8753420987763205111.post-32569555076425411812018-07-27T08:42:00.002-05:002018-07-27T08:43:37.997-05:00Civilizations<div class="MsoNormal" style="font-family: Cambria; margin: 0in 0in 0.0001pt;">
<span style="font-family: "arial";"><i>This is a review of the initial episodes of the PBS series </i>Civilizations<i> (2018). My review of the complete series is <a href="https://hyperallergic.com/452722/the-new-bbc-tv-series-and-what-we-mean-when-we-say-civilization/" target="_blank">available at Hyperallergic</a>.</i></span><br />
<span style="font-family: "arial";"><br /></span>
<span style="font-family: "arial";">PBS is certainly no stranger to airing British programming. The latest in its long line of British imports is the BBC art history series <i>Civilisations</i>. And this series certainly <i>feels</i>English: It was inspired by the 1969 BBC series <i>Civilisation</i>, with British presenter Kenneth Clark. The new series has broadened its horizons beyond Clark’s European focus to a global scope, as indicated by the pluralized title and its use of multiple presenters. But all of them — Simon Schama, Mary Beard, and David Olusoga — are British.<o:p></o:p></span></div>
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<span style="font-family: "arial";">Still, as with other British imports, this one has not come over wholesale to the U.S. Before the first episode aired, there were <a href="https://www.thetimes.co.uk/article/pbs-cuts-mary-beard-from-us-version-of-civilisations-for-being-an-old-lady-g3l3dr5wb" style="color: purple;">reports </a>that Mary Beard was <a href="https://www.telegraph.co.uk/news/2018/04/17/mary-beard-cut-us-version-civilisations-fearing-slightly-creaky/" style="color: purple;">cut from her episodes</a>. The reports appear to have started with an offhand comment from Beard herself, suggesting that American audiences didn’t want to see a <a href="https://twitter.com/wmarybeard/status/986218511528792064" target="_blank">“creaky old lady.”</a> </span><span style="font-family: "arial";">But it appears that, this time, sexism may not be at fault. All of the presenters’ screen time is cut significantly, and over the first two episodes there did not seem to be any significant difference in the amount of time we hear from Schama versus Beard (in the third episode, Beard’s screen time may have been cut further). These cuts are part of larger differences in direction between the British and American versions, which the BBC and PBS had apparently <a href="http://www.pbs.org/publiceditor/blogs/pbs-public-editor/civilizations-vs-civilsations/" style="color: purple;">planned from the beginning</a>. This included giving the PBS version an American narrator, Liev Schreiber, who serves to provide a unity to the three different presenters’ episodes, and I think to Americanize them.<o:p></o:p></span></div>
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<span style="font-family: "arial";">What about the substance of the episodes themselves? Let’s compare the first two.<o:p></o:p></span></div>
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<span style="font-family: "arial";">The first episode (“The Second Moment of Creation”) suffers from the fact that its writer-presenter, Simon Schama, does not specialize in any of the periods or material covered. It focuses mainly on ancient and often prehistoric art, while Schama’s expertise is in modern European history. So it is no surprise that the episode presents a great deal of outdated information and ideas as well as simplistic views of the distant past, ideas and views that are sometimes merely comforting and pat, but sometimes offensive and disturbing. When discussing the impressive ancient site of Petra, now in Jordan, Schama uses a discussion of its abandonment to illustrate part of the rise and fall of civilizations: “By the time of the Muslim conquests in the seventh century, Petra had been reduced by a series of earthquakes to little more than a dry and empty ruin.” But research over the last 25 years has shown that Petra was inhabited and thriving <a href="https://www.acorjordan.org/petra-church-conservation/" style="color: purple;">throughout the Byzantine period</a> (fourth to early seventh centuries) and <a href="https://www.britac.ac.uk/blog/did-petras-inhabitants-really-abandon-city" style="color: purple;">even beyond</a>. <o:p></o:p></span></div>
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<span style="font-family: "arial";">Schama repeats a metaphor of the torch of civilizations, being passed on from one group of people to another — a metaphor <a href="https://books.google.com/books?id=eJWjES159ocC&pg=PA5#v=onepage&q&f=false" style="color: purple;">critiqued by anthropologist Eric Wolf</a> in <i>Europe and the People without History</i>as misleading and stale . . . in 1982 (I owe this reference to archaeologist Dimitri Nakassis). “Civilization” becomes oddly restricted not merely to art but to subjectively defined high art, with the many other cultures not judged to have such art conveniently ignored. And this judgment repeatedly emphasizes the centrality of Europe or “the West.” After a discussion of Paleolithic cave art, we get a brief detour to South Africa: “The culture of the San bushmen has endured for tens of thousands of years, providing a living connection to a distant hunter-gatherer past. And their art offers clues to the birth of the creative impulse and modern human self-consciousness.” This is a kind of amateur anthropology favored by people like Jared Diamond but <a href="https://www.lrb.co.uk/v35/n22/james-c-scott/crops-towns-government" style="color: purple;">rejected by scholars</a>: modern hunter-gatherers are not <a href="https://www.npr.org/sections/13.7/2013/01/14/169374400/why-does-jared-diamond-make-anthropologists-so-mad" style="color: purple;">“living fossils”</a> but have evolved in their own right. Even worse, we immediately hear: “But it’s back in Europe that we find an object that may embody our earliest understanding of perfection.” For Schama at least, this object is La Dame de Brassempouy, the head of an ivory figurine of a woman, carved more than 20,000 years ago. “We have, right in front of us, the dawn of the idea of beauty.” This is more than just exaggeration and improbability, the idea that we have captured this exact moment, given our highly fragmentary evidence for the nature of life in the Stone Age. The presentation suggests that current-day, backwards Africa has value only for shining light on our own European past, but Stone Age Europe is advanced, looking forward to our present.<o:p></o:p></span><br />
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<span style="font-family: "arial";">Simon Schama with the Lady of Brassempouy: “the dawn of the idea of beauty”<o:p></o:p></span></div>
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<span style="font-family: "arial";">Schama’s episode was followed by “How Do We Look?”, featuring classicist Mary Beard. Beard warned that the American versions of her episodes are <a href="https://twitter.com/wmarybeard/status/986200738627047424" style="color: purple;">more “anodyne”</a> than the British ones. It’s easy to see why. We hear of the many modern echoes of Egyptian pharaoh Ramesses II’s use of gigantic statues of himself to project power: Sisi (one of “Egypt’s modern pharaohs”), Stalin, Mao. All of these are foreign dictators — the other. Even the odd inclusion of a statue of Jesus (as an example of “giant sculptures of Jesus who gaze down upon the faithful”) is of the Christ the Redeemer in Rio de Janeiro. We are never shown anything closer to home, although there are many examples at hand, from Mount Rushmore to Christ of the Ozarks. But it is as we are told of artists working to counter this dangerous use of the human form that we return to something more familiar: a British sculptor, Antony Gormley (his 66-foot Angel of the North is called “a monument to embody the people”). Not long after, Schreiber describes the “revolution” in ancient Greek art, praising the “world’s first democracy,” and describing it as the roots of “Western civilization.” Just as in Schama’s episode, the presentation here is thoroughly Eurocentric. The view is summed up perfectly by art critic Jonathan Jones in his brief appearance: “I think they [the Greeks] consciously created an art of something called civilization.”<o:p></o:p></span><br />
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<span style="font-family: "arial";">Christ of the Ozarks, Eureka Springs, Arkansas; photo by Jeff Weese <a href="https://www.flickr.com/photos/jeffweese/3861605417" style="color: purple;">via Flickr</a> <o:p></o:p></span></div>
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<span style="font-family: "arial";">But even the American version of Beard’s episode points to something more than this typically Eurocentric story. We see this already in the title, “How Do We Look?”. It is a pun, referring both to how we appear to others (indicating the episode’s focus on the human form), and to how we see, in particular how we see art (indicating the episode’s interest in the history of how artworks have been received). Much of the episode engages with recent work in reception history, feminist scholarship, and postcolonialism. Here at least, “Western civilization” is not a fixed entity extending back to ancient times, but a tradition invented fairly recently. We are told how high art in the modern West as an expression of power, one used in by the colonial European powers around the world. And we see a vivid example of this in the Olmec Wrestler. Once viewed as the pinnacle of achievement of Olmec art in ancient Mexico, it has since been determined to be a forgery – one whose features are less like other works of Olmec art than like classical sculpture. Western ways of seeing art have greatly influenced how we see the rest of the world, even how we try to invent it.<o:p></o:p></span></div>
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<span style="font-family: "arial";">Mary Beard discusses the influence of the 18th-century art historian Johann Winckelmann on how we see the Apollo Belvedere and Western art in general.<o:p></o:p></span></div>
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<span style="font-family: "arial";">In these ways, Beard’s episode strongly echoes another decades-old BBC program, 1972’s <i>Ways of Seeing </i>with John Berger (as suggested to me by art historian Shannon Steiner). This is particularly true in Beard’s emphasis of the ways that we see art in general, and the specific focus on the female nude and the way men have seen her, which Beard extends back from Berger’s Renaissance beginnings to Praxiteles. Berger’s series is <a href="https://books.google.com/books?id=RbC8CgAAQBAJ&pg=PA269#v=onepage&q&f=false" style="color: purple;">often</a><a href="https://books.google.com/books?id=yF2SG8BFDwkC&pg=PA195#v=onepage&q&f=false" style="color: purple;"> understood</a>, though I’m not sure there’s direct evidence of this, as a response to and critique of Clark’s <i>Civilisation</i>, which had been broadcast just three years earlier. Beard’s presentation contrasts with Schama’s in a similar way, even if not as innovative or engaging as the 1970s series.<o:p></o:p></span></div>
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<span style="font-family: "arial";">Unlike Schama, Beard focuses more on periods and places within her expertise: the classical world and its modern reception. So it is not surprising that Beard often provides the best moments in her episodes, while probably the best – and certainly the best informed – moments of Schama’s come when we hear from the experts, such as Jack Davis and Sharon Stocker on their recent excavations of the Bronze Age site of Pylos in Greece. Combining deep knowledge and theoretical engagement, Beard’s presence is somewhat subversive. But her presence is not just undermining our received ideas about Western civilization. It is undermining the image of civilization presented elsewhere in the series – including in the American version of “How Do We Look?” In other words, Beard’s appearances subvert her own episode.<o:p></o:p></span></div>
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<span style="font-family: "arial";">The series has some strong assets. The imagery and camera work are often stunning. The presenters are engaging personalities, though Schama can be overdramatic. It’s a shame that, to date, the series has largely wasted these advantages, using them and some new discoveries to tell a tired, old, comfortable story about ourselves.</span>Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com1tag:blogger.com,1999:blog-8753420987763205111.post-35161794973800442612018-06-28T12:45:00.000-05:002019-01-11T17:49:57.751-06:00First Century Mark and Nineteenth Century Moses<div class="separator" style="clear: both; text-align: center;">
<a href="https://commons.wikimedia.org/wiki/File:Abraham_Shalom_Yahuda_portrait,_G._Krokorian_studio,_Jerusalem.jpg" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="600" data-original-width="372" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOe-tqMnQgLdWSVLe9CbrXUu3koEublcwR2QaGnjkPrsPYMMMRuWHy-9qKi_G6XXE1ewloZqKoaXok64110YetfQOOgDeBcAPg2ETjbMu1qC1CFpX6QuuPgAJ6XTejmmg4TxvMxJSHnMQ/s640/Abraham_Shalom_Yahuda_portrait%252C_G._Krokorian_studio%252C_Jerusalem.jpg" width="395" /></a></div>
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<span style="background-color: white; font-family: "arial";">Abraham Shalom Yahuda as a young man.</span></div>
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<span style="background-color: white; font-family: "arial";">One of the many effects that the Dead Sea Scrolls had was to lead some scholars to call for a reconsideration of <a href="http://theappendix.net/issues/2014/7/the-lying-pen-of-the-scribes-a-nineteenth-century-dead-sea-scroll" style="color: purple;">the infamous Shapira Strips</a> – the leather strips on which an ancient version of Deuteronomy was said to be written; which Moses Shapira had tried to sell to the British Museum in 1883 for a million pounds; and which scholars had universally denounced as a forgery. Menachem Mansoor of the University of Wisconsin made the front page of the New York Times in 1956 with a call to “reopen” the case. Jacob Leib Teicher, lecturer in rabbinics at Cambridge, argued that they were genuine ancient scrolls in the <i>Times Literary Supplement </i>a year later. Far from every scholar thought they were worth reconsidering, of course. Shortly after the discovery of the Dead Sea Scrolls, W.F. Albright dismissed any comparison with Shapira’s strips: “it should be emphasized that there is <i>nothing whatever in common</i> between them except the fact that texts of the Hebrew Bible written in ancient scripts are involved</span><span style="background-color: white; font-family: "arial";">”</span><span style="background-color: white;"><span style="font-family: "arial";"> [emphasis in original].[1] Later, Mansoor was personally criticized for his views by scholars like Moshe Goshen-Gottstein and Oskar Rabinowicz.</span></span></div>
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<span style="background-color: white;"><span style="font-family: "arial";">In 1965, the eccentric Dead Sea Scrolls expert John Allegro published </span><i style="font-family: Arial;">The Shapira Affair</i><span style="font-family: "arial";">, another call to reassess the strips. Allegro’s book was appropriately the subject of criticism, if the tone was overly harsh, in a length review in </span><i style="font-family: Arial;">Jewish Quarterly Review </i><span style="font-family: "arial";">by Rabinowitz.[2] </span></span><span style="background-color: white; font-family: "arial";">Among the many points Rabinowicz made was that Allegro was too quick to take Shapira’s story of how he found out about the strips at face value. Shapira, after all, had made a career out of dealing with forgeries and other dubious material (including Torah scrolls from Yemen that were probably stolen from synagogues and communities there); and he had given not one story of how he first heard of the strips, but three. Rabinowicz’s counters to Allegro here are correct. Shapira was unreliable. Rabinowicz even quotes biblical scholar Herman Guthe’s 1883 book on the Shapira Strips on not trusting what Middle Eastern antiquities dealers have to say about the merchandise they are trying to sell. But then Rabinowicz turns around and spends three pages quoting what he presented as the true story of the forgery – from the mouth of Shapira’s apparent accomplice Salim. Salim gave a lengthy account of how he helped Shapira forge the strips, repeating some information that was then widely known or believed, but adding much new information: in this account it is Salim who appears to be the master, teaching his student Shapira how to age the leather, for example.<o:p></o:p></span></div>
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<span style="background-color: white; font-family: "arial";">If Shapira is (correctly!) seen as an untrustworthy source, then why believe his accomplice Salim? But it is worse than this. The account quoted by Rabinowicz was from an article by the Palestinian Jewish scholar Abraham S. Yahuda: according to Yahuda, he met a man claiming to be Salim in Palestine in 1902, 19 years after the Shapira affair. And Yahuda’s article was not published until 42 years(!) after this meeting.[3] </span><span style="background-color: white; font-family: "arial";">Is Yahuda working from memory here? If so, how reliable is his memory? This is not an idle point, since Yahuda gets some details of his story wrong. He mistakes the American consul Selah Merrill for his wife Phila – his second wife of two years, who had died in 1870. He places the Semitic scholar George A. Barton at the University of Pennsylvania, where he did not teach until 1922 (in 1902 he was at Bryn Mawr). Is Yahuda telling his readers the truth? We have reason to wonder, when Yahuda claims to have been involved in a conspiracy to smuggle a supposedly ancient sarcophagus out of the country, until Yahuda himself discovered it to be a forgery. And when the point of Yahuda’s tale of his encounter with Salim is to serve as background for an odd, lengthy attempt to undermine the authenticity of the Mesha Stele, universally accepted as a genuine antiquity. Is Salim embellishing his own role here? The effects of distant memory or outright lies, or something in between, are hard to judge over the course of the 61 years between the Shapira affair and the publication of Yahuda’s article.<o:p></o:p></span></div>
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<span style="background-color: white; font-family: "arial";">It is remarkable that Yahuda’s eccentric article was ever published by <i>Jewish Quarterly Review</i>. It is even more remarkable that a scholarly review would cite it as counterpoint to Shapira’s claim. But what we see here is something all too familiar: the rush to accept a dubious story or source as correct <i>if it fits in any way with our preconceptions, and if it is critical of whom we dislike. </i>Rabinowicz dismissed Shapira’s questionable account because Rabinowicz already believed the strips to be fake and because the account reflected positively on Shapira; but he accepted Salim’s (or Yahuda’s) questionable claims because it reinforced his belief that the strips were fake and because it reflected negatively on Shapira. I am not trying to suggest that the Shapira Strips were anything other than forgeries. I am only suggesting that <i>both </i>Shapira’s accounts and Salim’s detailed claims are worthless here, and <i>neither </i>should have been quoted approvingly for three pages in a scholarly review. The previously known elements of Salim’s story can be cited from other sources; and those not previously known cannot be corroborated. As a source Salim is no more reliable than Shapira.<o:p></o:p></span></div>
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<span style="background-color: white; font-family: "arial";">I was reminded of this strange episode with the latest news of the supposed First Century Mark. Since 2012, rumors circulated of a fragmentary copy of the Gospel of Mark dating to the first century – a remarkably early copy that would be of both huge religious and huge scholarly significance. It was rumored that Steve Green, president of Hobby Lobby and director of the Museum of the Bible, owned or was looking to purchase this fragment. So it came as a surprise when the Egypt Exploration Society (EES) announced this past May that the fragment was actually a papyrus from the site of Oxyrhynchus in Egypt, one that they owned and had recently published, and one that dated not to the first century but to the late second or early third century instead.<o:p></o:p></span></div>
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<span style="background-color: white; font-family: "arial";">When Evangelical Textual Criticism blog contributor Elijah Hixson posted about this case, Scott Carroll – who had worked for the Museum of the Bible for several years and helped the Greens acquire their large collection of antiquities – <a href="http://evangelicaltextualcriticism.blogspot.com/2018/05/first-century-mark-published-at-last.html?showComment=1527094029903#c6371549005866244014" style="color: purple;">left a comment</a> that Dirk Obbink (a prominent papyrologist at Cambridge who has also been associated with the Greens) was trying to sell this fragment to the Green family in 2011 and again in 2013. The comment seemed to conflict with the EES announcement, but it seemed questionable on several fronts. Papyrologist </span><a href="https://twitter.com/papyrologyatman/status/999916357264158721" style="background-color: white; color: purple; font-family: Arial;">Roberta</a><span style="background-color: white; font-family: "arial";"> </span><a href="https://twitter.com/papyrologyatman/status/1000476653154222080" style="background-color: white; color: purple; font-family: Arial;">Mazza</a>,<span style="background-color: white; font-family: "arial";"> an EES trustee, and the </span><a href="https://www.ees.ac.uk/news/poxy-lxxxiii-5345" style="background-color: white; color: purple; font-family: Arial;">EES itself</a><span style="background-color: white; font-family: "arial";"> both insisted that they had always owned the papyrus and had never offered it for sale. Scott Carroll, meanwhile, is infamous for being an </span><a href="http://art-crime.blogspot.com/2017/11/contradictory-statements-on-acquisition.html" style="background-color: white; color: purple; font-family: Arial;">unreliable</a><span style="background-color: white; font-family: "arial";"> </span><a href="https://facesandvoices.wordpress.com/2014/02/16/papyri-the-bible-and-the-formation-of-the-green-collection/" style="background-color: white; color: purple; font-family: Arial;">source</a><span style="background-color: white; font-family: "arial";"> Even worse, the online comment was merely from someone <i>claiming</i> to be Scott Carroll, but whose identity was unconfirmed. (But see update below.)</span></div>
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<span style="background-color: white; font-family: "arial";">Nevertheless, <a href="https://www.bricecjones.com/blog/the-secret-is-out-first-century-mark-is-not-from-the-first-century" style="color: purple;">several</a> <a href="https://twitter.com/SethLSanders/status/1000074179935256576" style="color: purple;">scholars</a> rushed to believe the purported claims outright, or at least to give them <a href="https://www.thedailybeast.com/was-one-of-worlds-oldest-bible-passages-found-in-a-garbage-dump" style="color: purple;">serious consideration</a>. Why the suspension of critical thinking? It appears that the answer is simply that the comments reflected poorly on the evangelical Museum of the Bible and their associate Dirk Obbink, both of whom are already – understandably – criticized by many academics for a lack of concern for ethics and legality in studying and acquiring ancient texts. But this alone does not mean that unsubstantiated claims about Obbink and the Greens, from an account claiming to be someone known as an unreliable source, are suddenly believable.<o:p></o:p></span></div>
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<span style="background-color: white;"><span style="font-family: "arial";">Sadly, this state of affairs is a general rule: we are much less critical about things that fit with our likes and dislikes than those that challenge them, no matter how questionable the claims or their sources. But certainly as scholars we should try to be more rigorous? We should weigh the reliability of sources in every case, not merely when it is convenient. Start with a set of principles, not teams that we root for and against. If provenance is important, then advocate for it everywhere, not just with the Greens. Based on this single online comment, scholars were worried that here we had a prominent scholar – Obbink – trying to illegally sell ancient texts. But we know for a fact that </span><span style="color: purple; font-family: "arial";"><u>many scholars</u></span><span style="font-family: "arial";"> have been involved in the illegal antiquities trade, and they receive far less criticism. Let’s stop and reflect for a moment on why that might be, and whether we can do anything to change that.</span></span><br />
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<span style="background-color: white;"><span style="font-family: "arial";"><b>UPDATE 7/1</b>: Peter Gurry, a contributor to the <a href="http://evangelicaltextualcriticism.blogspot.com/" target="_blank">Evangelical Textual Criticism</a> blog, has informed me that Elijah Hixson did later contact Scott Carroll and confirm that he was the commenter on the post mentioned above (see <a href="https://www.christianitytoday.com/ct/2018/may-web-only/mark-manuscript-earliest-not-first-century-fcm.html" target="_blank">here</a>). It's worth noting, though, that the scholars who initially accepted the comment at face value would not have been aware of any confirmation.</span></span><br />
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<span style="font-family: "arial";">[1] William F. Albright, On the Date of the Scrolls from ‘Ain Feshkha and the Nash Papyrus, <i>Bulletin of the American Schools of Oriental Research</i>115 (October 1949): 13.<o:p></o:p></span></div>
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<span style="font-family: "arial";">[2] Oskar K. Rabinowicz, The Shapira Scroll: A Nineteenth-Century Forgery, <i>Jewish Quarterly Review </i>n.s. 56 no. 1 (July 1965): 1-21. See also Rabinowicz, Review of <i>The Shapira Affair</i>by John Marco Allegro, <i>Jewish Social Studies</i>27 no. 3 (July 1965): 196-197.<o:p></o:p></span></div>
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<span style="font-family: "arial";">[3] A.S. Yahuda, The Story of a Forgery and the Mēša Inscription, <i>Jewish Quarterly Review </i>35 no. 2 (October 1944): 139-164.</span><o:p></o:p></div>
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Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com2tag:blogger.com,1999:blog-8753420987763205111.post-75790746507049974902018-01-25T08:41:00.000-06:002018-01-25T08:41:26.791-06:00Some Thoughts on Bible Nation<style>
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<div class="MsoNormal" style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";">“Gutenberg Gates”: Entry to
the Museum of the Bible with 40-foot bronze reproduction of the printing plates
of Genesis 1 for the Gutenberg Bible</span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";">Photo taken Nov 4, 2017 by Fuzheado, via
<a href="https://commons.wikimedia.org/wiki/File:Museumofthebible-2017-11-04-exterior-front-door.jpg" target="_blank">Wikimedia Commons</a></span></span></div>
</div>
<div class="MsoNormal">
<br />
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Shortly after the official
opening of the Museum of the Bible in November, I published <a href="https://hyperallergic.com/411980/as-the-new-museum-of-the-bible-opens-questions-about-its-scholarship-remain/">a
piece at Hyperallergic</a> on some of the museum’s problems, a set of things to
keep in mind if you happen to visit. That piece referred repeatedly to the book
<i style="mso-bidi-font-style: normal;"><a href="https://press.princeton.edu/titles/11085.html">Bible Nation</a></i> (by
New Testament scholar Candida Moss and Hebrew Bible scholar Joel Baden), which
came out a month in advance of the museum’s opening. However, it was something
short of a review of <i style="mso-bidi-font-style: normal;">Bible Natio</i>n.
Since I think that this book and the issues it treats deserve further
discussion, I would like to present some thoughts on it here.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">First, the book is very much
worth reading for anyone planning to go to the Museum of the Bible, or for
anyone considering the implications of such a museum. It is the single most
important piece of writing to date on the museum, its collection, and all of
the Bible-related activities of the Green family, the main backers of the
museum. As Moss and Baden discuss, the Greens have not funded just the museum
and scholarship on their collection, but also Bible curricula and an
evangelical Christian travel program to Israel. On one level, <i style="mso-bidi-font-style: normal;">Bible Nation</i> is useful as a compilation of
news stories in various places – some broken by Moss and Baden themselves – on
these different activities over the last five years. But it is more than this: even
as someone who has been following these issues with interest for some time, I
learned a lot from the book. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">How does the book treat the
Greens’ artifact collection and the collection’s provenance specifically
(Chapter 1, “The Collection”), the area I’m most familiar with? The discussion
is generally good. I learned much less here than in other sections of the book,
because I’ve followed the developments here more closely over the last few
years. As elsewhere in the book, the primary (but not sole) value of the
reporting is synthesis. There were a few details that were new to me (for
example, the reporting of the Greens’ donation of artifacts and tax writeoffs
in the context of their larger philanthropic activities). The coverage of
provenance issues is not exhaustive: it leaves out examples such as the
purported (and problematic) <a href="https://www.timesofisrael.com/worlds-oldest-known-siddur-unveiled-in-jerusalem/">“oldest
known siddur,”</a> which was the subject of several news reports in 2014. Rather,
as Moss and Baden suggest, the problems they report are merely the “tip of the
iceberg”.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">One of the threads running
through the book is that the Greens are restricting access to knowledge and
endangering academic freedom. Moss and Baden set the tone in the preface: “This
book is about the Greens, but it is also about a set of American values, in
which . . . individualism and property rights trump free access to and public
ownership of knowledge and learning.” (p.viii) They argue that the Greens do
this in particular through the use of non-disclosure agreements for scholars
working on their collection (see esp. pp. 73-80). Moss and Baden strongly
suggest that this is something unique, or almost so, in academia: it is “at
odds with the most common standards and practices in humanities scholarship”
(p. 73). Their only suggested comparison (pp. 81-82) is the infamous case of
the Dead Sea Scrolls, in which a small, secretive group of scholars took more
than 40 years to publish the material, all the while restricting access to
anyone outside the group. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">But this sort of restriction
is far more common than suggested in <i style="mso-bidi-font-style: normal;">Bible
Nation</i>. The case of the Dead Sea Scrolls stands out because it is so famous;
because the material has been so important to the history of scholarship;
because the case was well publicized; and because it took several prominent
scholars to open access to the scrolls – not because it is unique. In fact,
archaeologists are notorious for taking decades to publish the material they
excavate, if they manage to publish it at all during their lifetimes; and in
the meantime they routinely restrict access to their material. I spent years
studying unpublished material from excavations, in particular Iron Age
figurines from the southern Levant. There are cases where I was actively misled
by an excavator about the material from his site, or where I was prevented
from mentioning the existence of figurines after I had been allowed to study
them. In one case a European museum refused my team permission to publish
material it held from an old excavation in Israel, even though we had been authorized
by the Israel Antiquities Authority to publish the results of the excavation;
the museum refused even to tell us exactly what items they held from this
excavation. I was regularly restricted in what I could write about the
collections I’d seen, often in oral agreement but sometimes in writing. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Moss and Baden appear to be unaware
that restrictions on unpublished collections are so common. This is not
surprising: they themselves acknowledge, in a different context, that they do
not work firsthand with this material. (p. x: “. . . we are not the kind of
academics most directly affected by the Greens’ actions. We are neither
specialists in ancient manuscripts nor especially concerned with the
transmission of those texts.”) But this context is important, for it potentially
changes how we analyze the Museum of the Bible’s actions. I have been worried –
<a href="https://hyperallergic.com/390355/dispelling-the-myths-around-the-hobby-lobby-antiquities-case/">as
I have written before</a> – that the Greens will be targeted disproportionately
(because they are politically conservative, because they are evangelical
Christians, or specifically because of their Supreme Court case) while
comparable issues at other museums and institutions will be ignored. We should
be sure to focus our critiques on general principles, not on individual persons
or institutions we happen to already dislike.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">In fact, the entire framing
of the non-disclosure issue as a conflict between “individualism and property
rights” and “free access to and public ownership of knowledge and learning” is
a striking one. For it is precisely this framing that is one of the main
arguments of those trying to legitimize the use of unprovenanced artifacts –
which are a major feature of the Green collection and which Moss and Baden
sharply criticize. Archaeologists, Assyriologists, and others who champion the
publication of such material have used almost these exact words. We commonly
hear warnings about “censorship” (including “censoring knowledge”), concerns
about “accessibility to scholarship” and<span style="mso-spacerun: yes;">
</span>“freedom of scholarship.” (See for example the chapters by John Boardman
and David I. Owen in <i style="mso-bidi-font-style: normal;"><a href="https://books.google.com/books?id=RWz49m_QbHkC">Whose Culture? The
Promise of Museums and the Debate over Antiquities</a></i>, ed. James Cuno [Princeton
and Oxford: Princeton University Press, 2009].) </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">On the surface at least,
there is a certain tension between these two very different claims of
censorship of knowledge. How are we to resolve it? Personally, I believe that
the tension is more apparent than real, in particular because I find the claim
that restricting the use of unprovenanced artifacts equals censorship to be
overblown. After all, <a href="https://web.archive.org/web/20071012113017/http://bib-arch.org:80/bswbOOunprovenanced.html">some
archaeologists making these claims</a> have taken decades to publish the finds
from their own excavations – in the meantime restricting access to that
material to varying degrees. I also find any concerns about censorship to be
outweighed by <a href="https://www.blogger.com/textualcultures.blogspot.com/2016/09/why-provenance-matters.html">the
serious ethical, legal, and other professional problems</a> presented by
unprovenanced artifacts. Regardless, once Moss and Baden make this argument
about access to knowledge, the tension needs to be discussed.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">But where the Greens are
most influential is certainly not in controlling scholarly access to their
manuscripts, but in using their massive wealth to fund projects and causes with
a massive public reach. Here Moss and Baden appear to be more perceptive than
many other academic critics. They realize that the Greens’ funding of scholarship
(and any possible distortion of scholarship that results) is less important
than the legitimizing effect that that scholarship will have on the Museum of
the Bible and the Greens’ other ventures. After all, the Museum of the Bible
will reach more people, by orders of magnitude, than any single scholar can
dream of doing. But Moss and Baden’s recognition of this influence is inconsistent.
They conclude that </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: "arial";">The Greens are free to use their
considerable wealth to exert influence over politics and legislation</span></b><span style="font-family: "arial";">; they are welcome to run their company according to
their interpretation of biblical principles; and they are at liberty to try to
evangelize. But when they, however unwittingly, disguise evangelization as
education and fortify their beliefs as religio-academic consensus, they are
doing more than merely misleading the public. When it comes to educating our
children, informing our citizens, and serving as a resource to our politicians,
accuracy and balance require more than notional guiding principles. (p. 194; my
emphasis)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">The Greens are legally free
to do any and all of these things, and more (as long as they do not involve
illicit activities like smuggling artifacts). Whether the Greens should do
them, or should be allowed to do them, is another matter. Over the last few
decades, one of the most consequential facts of political life in the U.S. and
the world is the nearly inconceivable growth in inequality – a massive shift in
wealth from the poor and middle classes to the wealthy. This shift has not
happened by chance. It is the direct result of policy changes, policy changes
motivated by the massive political spending of wealthy families and
corporations. I must point out that Moss and Baden’s reference to exerting
influence in politics is a brief one, and perhaps it is unfair to make too much
of it. But especially in the context of <i style="mso-bidi-font-style: normal;">Bible
Nation</i>, this shift should not be dismissed lightly but explored, even
confronted head on. If we fail to understand this basic truth of contemporary
life, how well can we really understand the massive political and cultural
spending of families like the Greens (or the Waltons, or the Kochs) or
companies like Hobby Lobby?</span></div>
Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com0tag:blogger.com,1999:blog-8753420987763205111.post-91862308752171039342017-10-12T12:29:00.000-05:002017-10-12T12:29:36.999-05:00What's in a (Place) Name?<style>
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<div class="MsoNormal">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: "arial";">Israel, Judea . . . and
Palestine</span></span></div>
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis2apLlLKPFPHAkL3NH7i6dXtoWHr2lYrwtwHQob8u33seRwZ_H1wVAlcJc3pqFYAEaLCHU5OIOHXwjioEbMgG9meoO8o4NK6vPksTtPF23L0elPokZPDDod3Xuu_3NXeLr2KmD7cPJv8/s1600/Jastrow.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="414" data-original-width="1051" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis2apLlLKPFPHAkL3NH7i6dXtoWHr2lYrwtwHQob8u33seRwZ_H1wVAlcJc3pqFYAEaLCHU5OIOHXwjioEbMgG9meoO8o4NK6vPksTtPF23L0elPokZPDDod3Xuu_3NXeLr2KmD7cPJv8/s640/Jastrow.png" width="500" /></a></div>
<div style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;">Marcus Jastrow's Dictionary of the Talmud, part 13 (1900) </span></span></div>
<br />
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<div class="MsoNormal">
<span style="font-family: "arial";">There appears to be a great
deal of confusion about the name “Palestine.” Some believe it was <a href="http://forward.com/opinion/letters/383433/the-real-history-of-the-name-palestine/">invented
by the Roman emperor Hadrian</a> to replace the name “Judea.” Some believe it
was <a href="http://forward.com/opinion/383106/a-major-jewish-philanthropist-just-published-a-plan-to-ethnically-cleanse-p/">imposed
on the Arabs of Mandate Palestine by the British</a>. Where did “Palestine”
(and “Judea” and “Israel”) come from? What does it tell us about the people who
use it? What, exactly, <i style="mso-bidi-font-style: normal;">is</i> in a name?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">There is a famous verse in
the book of Qohelet (Ecclesiastes) that runs, “One generation passes away, another
generation comes, but the earth (<i style="mso-bidi-font-style: normal;">ha’aretz</i>)
stands forever.” The medieval Jewish geographer Estori Haparchi added a twist:
for him, “the land (<i style="mso-bidi-font-style: normal;">ha’aretz</i>) stands
forever, with most of its names.” He was referring to how many ancient place
names have been preserved in the Land of Israel. Place names are often very
durable, but even so they can be hard to pin down. They may move around or change
their meaning. Many names we use today for countries (England, Greece, Holland,
Persia) originally referred to much smaller regions, and their ranges expanded only
as groups of people and kingdoms spread. Given how we are usually taught to
think of them, it might be surprising to realize – it was for me – that the
same is true of the names Israel, Judea, and Palestine. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">All three of these place names
first appear in the historical record about the same time, around the ninth and
eighth centuries BCE. (The names Israel and Philistines both appear earlier, c.
1200, as groups of people, Israel in the famous Merneptah Stele discovered in
Egypt by British archaeologist Flinders Petrie in 1896.) And all three applied
only to small regions. Israel was centered on the northern hill country in what
is now the West Bank, Judea (Hebrew <i style="mso-bidi-font-style: normal;">Yehudah</i>,
Judah) on the southern hill country, and Palestine (Hebrew <i style="mso-bidi-font-style: normal;">Peleshet</i>, Philistia) the southern coastal plain. Over the following
several centuries, each name expanded in its scope until it encompassed the entire
country: the Land of Israel as a central geographic term in Judaism, Judea as a
political name for a small province of different empires and then an expanded
Hasmonean kingdom. When the Romans incorporated the land into their empire, it
was natural that they would adopt the term “Judea” (or Judaea) for its name.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">And starting with Herodotus
in the fifth century BCE, classical writers regularly used Palestine (Greek </span><span class="st"><i style="mso-bidi-font-style: normal;"><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Palaistinē</span></i></span><span style="font-family: "arial";">) to cover an area clearly greater than the southern
coastal plain of the country. As with any name, there was some variation in its
use, but overall that use was roughly consistent: Palestine covered much if not
all of the land between Syria and Egypt. It was sometimes considered southern
Syria, sometimes paired with Syria as a separate entity. Aristotle described tales
he had heard of the Dead Sea (“they say . . . the lake is so bitter and salty
that there are no fish in it”) and located it in Palestine. Jews used the name
too. For Jewish writers like Josephus and Philo (first century CE), Palestine could
be either the southern coastal plain or an alternate name to Judea for the
entire region. So, when Hadrian substituted the name Palaestina for Judaea, he
was in fact swapping one expanded regional name for another.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">The name “Palestine” never
went away, either. For hundreds of years it was the name of the Roman and
Byzantine province. The rabbis, too, used Palestine (Hebrew-Aramaic <i style="mso-bidi-font-style: normal;">Palastini</i>) in Midrash as both the name
of the province and a name for the southern coastal plain. The Umayyads (the
seventh to eighth century rulers of the Middle East) inherited it, in the form
of Arabic <i style="mso-bidi-font-style: normal;">Filas</i></span><span class="unicode"><i><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman";">ṭī</span></i></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "arial";">n</span></i><span style="font-family: "arial";">, as a province from the Romans and Byzantines. Afterwards
it no longer served as the name of an administrative unit, but as a geographic
term in common use, again for a fairly well-defined area: most of area west of
the Jordan and south of Galilee, plus a small part of what’s now Jordan. Important
writers who lived in Jerusalem, from Muqaddasi in the 10th century to Mujir
al-Din in the 15th and beyond, all knew the term and used it repeatedly in this
way. They were often even aware that the land was named in some way after the
Philistines. The use of “Palestine” by people in all different classes and
parts of the country continued to the end of the Ottoman period. The
influential Jaffa-based Arabic newspaper named <i style="mso-bidi-font-style: normal;">Filastin</i> was first published in 1911 – prior to the British
Mandate, not imposed by it. Familiar with both this modern use and classical
texts, it is no wonder that people around the world routinely used Palestine to
describe the land in this period, including Jews (alongside their other names
for it).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">So why do we think of these three
names in such different ways? For Jews, Israel and Judea are “our” names, the
names we originated in some way and preserved over some 3000 years. For most of
the last 1900 of these, this has happened largely – but certainly not
exclusively – in the Diaspora. Palestine became the primary name used by its inhabitants
after the Roman province was renamed, and it is the name Arabs living in and
around the country have continually used for more than a millennium. It is
“their” name. But the land doesn’t discriminate; it continues to stand,
together with all these names.</span><br />
<br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;">Nameplate of <i>Filastin</i>, July 15, 1911</span></span></div>
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Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com3tag:blogger.com,1999:blog-8753420987763205111.post-60537028736331789452017-08-11T11:10:00.000-05:002018-02-21T08:51:05.078-06:00Joseph's Tomb and the Universal Value of Heritage<style>@font-face {
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px; text-align: center;">A group of ultra-Orthodox (Haredi) Jews and former Arkansas governor Mike Huckabee </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px; text-align: center;">pray at Joseph's Tomb, Nablus, May 22, 2017 (<a href="https://www.youtube.com/watch?v=1XTSTiQ2ncY" target="_blank">screenshot from YouTube</a>)</span></div>
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<span style="font-family: "arial";">In a recent blog post, </span><a href="https://gatesofnineveh.wordpress.com/2017/07/04/towards-a-post-westphalian-archaeology/"><span style="font-family: "arial";">Christopher Jones discussed</span></a><span style="font-family: "arial";"> the evolution of frameworks for dealing with
cultural heritage over the last two centuries. The current framework is
centered on national sovereignty, as Jones notes: national cultural heritage
laws generally vest ownership of artifacts and monuments (unsurprisingly) in
the nation-state, and international agreements center on national signatories
and mechanisms to repatriate to source countries. But Jones notes increasing
tensions with this framework – both international (the concept of global
heritage) and local. When we say that something is global heritage, or shared
heritage, that appears to be staking a claim to ownership of that heritage. It
is no longer national.</span></div>
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<span style="font-family: "arial";">Erich Hatala Matthes, a philosopher
focusing on the ethics of heritage, has identified a similar tension between
the value of cultural heritage for specific groups and the universal value of
cultural heritage.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftn1">[1]</a></span><span style="font-family: "arial";">
His work suggests, however, that it is possible to bridge the gap between these
two views.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftn2">[2]</a> </span><span style="font-family: "arial";">He points to alternative ethical accounts of recognition of value, or respect
for heritage – that some things may be valued without ownership, or recognized
to have value, or respected by everyone, regardless of whether everyone finds
them actually valuable. Matthes is less concerned with arguing for the fact of
universal value – his starting point is that at least some examples of cultural
heritage have (or appear to have) universal value, and is merely trying to
explain why that might be. (This marks a contrast with the concept of global
heritage, which is often invoked with the assumption that all heritage should
matter to everyone.) These models would relieve the tension between the
universal and the national.</span></div>
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<span style="font-family: "arial";">Or do they? With heritage –
at least as heritage is understood under the current framework – I have become
increasingly skeptical of our ability to escape ownership claims. For those who
claim merely to value heritage, or that it is cultural or spiritual heritage
(and not a literal claim to ownership), these concepts often bleed together –
including insisting what other countries should do with their heritage.
Consider </span><a href="https://hyperallergic.com/299983/why-do-we-care-about-palmyra-so-much/"><span style="font-family: "arial";">the case of Palmyra</span></a><span style="font-family: "arial";">, where, after three centuries of seeing the ancient ruins as part of
their own past as opposed to that of the people living there, Europeans and
Americans can still lecture Syrians on how to reconstruct (or not) the site
after ISIS. Or the case of the Parthenon sculptures (aka the Elgin Marbles),
where the </span><a href="http://www.britishmuseum.org/about_us/news_and_press/statements/parthenon_sculptures.aspx"><span style="font-family: "arial";">British Museum uses “shared heritage”</span></a><span style="font-family: "arial";"> as justification for its continued ownership of the
sculptures and refusal to repatriate them to Greece.</span></div>
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<span style="font-family: "arial";">The Parthenon sculptures
point toward the clearest problems: cases of contested heritage, where multiple
groups (nations, ethnic groups, religious groups, etc.) directly vie for physical
control of a monument or group of artifacts, even vying for control of the
meaning – who gets to determine what it means. Having worked for many years in
Israel, I have continually come across examples of contested heritage. Here I
would like to highlight one specific example that may be illuminating: Joseph’s
Tomb at Nablus.</span></div>
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<span style="font-family: "arial"; font-size: 13px;">Joseph's Tomb in ruined
state, late 19th century (Maison Bonfils)</span><span style="font-family: "times"; mso-bidi-font-family: Times;"><o:p></o:p></span></div>
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<span style="font-family: "arial";"><br /></span></div>
<span style="font-family: "arial";">Joseph’s Tomb (Arabic <i style="mso-bidi-font-style: normal;">Qabr Y<span class="tgc"><span style="mso-bidi-font-weight: bold;">ū</span></span>suf</i>, Hebrew <i style="mso-bidi-font-style: normal;">Qever Yosef</i>) is located in Balata on the
outskirts of Nablus.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftn3">[3]</a> </span><span style="font-family: "arial";">The current structure largely dates to the late 19th century and later, but is
ultimately a renovation of an earlier building. The site itself, or a site very
close by, has been revered as the burial place of the biblical Joseph (Y<span class="tgc"><span style="mso-bidi-font-weight: bold;">u</span></span>suf of the
Qur’an) since at least the fourth century. It is mentioned by a long parade of
travelers, pilgrims, and geographers, starting with Eusebius, in close
connection with the traditional Well of Jacob; the current structures are only
a few hundred meters apart. </span>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://commons.wikimedia.org/wiki/File%3AJoseph's_Tomb.jpg" style="margin-left: 1em; margin-right: 1em;" title="See page for author [Public domain], via Wikimedia Commons"><img alt="Joseph's Tomb" height="284" src="https://upload.wikimedia.org/wikipedia/commons/4/4f/Joseph%27s_Tomb.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: "arial"; font-size: 13px;">Restored tomb, c. 1900 (via Wikimedia Commons)</span></div>
<span style="font-family: "arial";"><br /></span>
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<span style="font-family: "arial";">The place was considered
sacred by Jews, Christians, Muslims, and Samaritans alike. 18th-century itinerary
books for Jewish pilgrims included Joseph’s Tomb at Nablus among their lists of
sacred places and provided a prayer to be said. Explorers in the 19th century
noted Hebrew inscriptions on the wall, one dating to 1749 (in the month of
Sivan 5509 in the Hebrew calendar) describing a repair of the building at that
time. They also noted that Jews and Samaritans burned incense in the hollowed
tops of the two columns that flanked the cenotaph (the empty above-ground
monument marking the place of burial) in the center of the tomb building. Travelers
focused on the shrine’s importance to Jews and Samaritans, but they routinely observed
that Christians and Muslims also considered it a holy place. The shrine itself looks
like a typical Muslim sanctuary or </span><span class="st"><i style="mso-bidi-font-style: normal;"><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">maqām</span></i></span><span class="st"><span style="font-family: "noteworthy light"; mso-bidi-font-family: "Noteworthy Light"; mso-fareast-font-family: "Times New Roman";"></span></span><span style="font-family: "arial";">: a small room with a dome on top, and an adjacent partly-closed
courtyard. Tawfiq Canaan, author of the definitive study of Muslim sanctuaries
in Palestine (1927),</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftn4">[4]</a></span><span style="font-family: "arial";"> remarked
that in his time Muslims understood the shrine to be the shrine of the son of
Jacob. All religious communities, it seems, understood the site as dedicated to
the same biblical/quranic figure.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftn5">[5]</a></span></div>
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<a href="http://www.loc.gov/pictures/item/2006679643/" target="_blank"><img border="0" data-original-height="517" data-original-width="1024" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHelDvl-2-SraRR1qQyMruHH4exI6kToKDNUuH4JyBTyCiTF3tchz3mAceeIm4OLx0sQuv4zKUo2FE0_SEZmCvRIf3IV9iEr-8NRuuMJN1yRmbBf8_HdGVy1Rx1MVcYH2P0ox2ilynTtw/s400/10643v.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px;">Stereograph of man in interior of Joseph's Tomb, c. 1900 </span></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px;">(J.F. Jarvis, via Library of Congress)</span></div>
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">But in recent decades this
situation has drastically changed. After 1948, many Muslim shrines lost
importance among local communities; some of the festivals (such as the Nabi
Musa festival for the Jerusalem region and the Nabi Rubin festival in the
southern coastal plain) were suppressed by Jordan or Israel. With Israel’s
takeover of the West Bank after 1967 came visits of religious Zionists to
Joseph’s Tomb – while Palestinians were banned from the site in 1975. Even
after Israel transferred jurisdiction of Nablus to the Palestinian Authority in
1995, it still maintained control of the tomb with an IDF outpost there. A
yeshiva with extremist ties named Od Yosef Chai (“Joseph still lives”) had been
founded at the site in the 1980s, but was relocated to the nearby settlement of
Yitzhar in 2000.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftn6">[6]</a></span><span style="font-family: "arial";"> At
that time, with the beginning of the Second (Al-Aqsa) Intifada, residents of
Nablus burned the tomb, destroyed the yeshiva, and killed a Druze border
policeman; subsequently Israel completely withdrew from Joseph’s Tomb and Nablus.
In the years since, visits to the tomb in the middle of the night by groups of
religious Israeli Jews, escorted by the Israeli military, are regular occurrences.
One such trip earlier this year included roughly 4000 Jewish worshipers plus
former Arkansas governor Mike Huckabee. Palestinians in Nablus now maintain –
in contrast to widespread belief before 1948 – that the tomb is merely that of
a local sheikh named Y<span class="tgc"><span style="mso-bidi-font-weight: bold;">u</span></span>suf.
Local residents have vandalized the tomb multiple times.</span></div>
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<a href="https://commons.wikimedia.org/wiki/File:KeverYosef_Shechem.JPG" target="_blank"><img border="0" data-original-height="600" data-original-width="450" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEcH69CdbXawpXeuIj3-PvxPGgey5BvR3J4PZFrGpeDloAQh3BLrtgN6aHshRdqWLyiZ24iHFjd5o2ZqQ41BzrM75-o7CtETPRhC3Cwfgtb4BIEzYE3P6VupnwqedUo1SU0OD_-rZ6pwg/s400/Wikimedia+Commons+%2528by+Shuki%2529.JPG" width="300" /></a><span id="goog_1829738466"></span><span id="goog_1829738467"></span><a href="https://www.blogger.com/"></a></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px;">Group of religious Jews and soldiers at Joseph's Tomb, November 2009. </span></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px;">Note the damaged dome.</span></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: 13px;">(Photo by Shuki, via Wikimedia Commons)</span></div>
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">What accounts for the
massive shift in Palestinian attitudes toward the tomb, between the British
Mandate and today? In <i style="mso-bidi-font-style: normal;">Facts on the Ground</i>
(2001), Nadia Abu El-Haj suggested that the tomb – given its handling in the
decades of Israeli control – had come to be seen as monument to Israeli
colonialism.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftn7">[7]</a></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">This conclusion parallels
Morag Kersel’s work on looting in the West Bank.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftn8">[8]</a></span><span style="font-family: "arial";">
While it is commonly believed that antiquities looting is caused primarily by
economic factors, and it is true that collectors’ demand for artifacts is a
central driver of the market, this is only one of four major motivations
identified by Kersel based on interviews with Palestinians. One of the other
three is resistance: “In repeated interviews I was told that one of the
motivating factors for looting was a resistance to the Israeli occupation and
subjugation of the Palestinian people.” </span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Even if the looted artifacts
are (or could be understood) as part of the Palestinian past, looters see them
only as belonging to the Israeli past: “Interviews with Palestinian
archaeologists and government employees confirmed that the Palestinian looter,
regardless of whether he digs in Israel or the PA, does not identify the
material remains as his or her past but as an Israeli past, and it therefore
should be eradicated.” For many (not all) Palestinians, Joseph’s Tomb has been
transformed from a sacred place to a symbol of occupation – it is what Lynn
Meskell has identified as “negative heritage.”</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftn9">[9]</a></span><span style="font-family: "arial";">
It conjures not positive but negative memories, in a way we normally ignore
when we think about heritage.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">However much we may deplore
vandalism and destruction, can we expect or even demand that everyone respect
or recognize the value of Joseph’s Tomb? We are in a situation where two groups
attribute meanings to the structure – one positive, one negative – that directly
conflict; and where a single group’s meaning underwent significant change within
a few decades. Can we as scholars or outside observers insist on treating only
one view – the Israeli one – as legitimate? This question is not just academic.
Several scholarly reviews of Abu El-Haj’s <i style="mso-bidi-font-style: normal;">Facts
on the Ground</i> harshly criticized her merely for trying to understand
Palestinian motivation for vandalizing Joseph’s Tomb.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftn10">[10]</a></span><span style="font-family: "arial";"> Especially
in the context of occupation of the West Bank, it seems superficial to focus on
condemning vandalism and damage to a building – though the loss of life in the
2000 attack is another matter.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
<span style="font-family: "arial";">Certainly not all forms of heritage are as
contentious as Joseph’s Tomb, not all places filled with as much tension as
Israel/Palestine. In places like the Haram al-Sharif/Temple Mount, Palestinians
and Israeli Jews attribute different meanings even to metal detectors. But the
same issues, in stark outline there, can be found all around us once we start
looking for them – often just waiting for the time to erupt. In the U.S. they
are the natural product of disturbing aspects of history like slavery, Jim
Crow, and displacement of Native Americans. Recent examples include fights over
Confederate monuments, Native American sacred sites and burial grounds, and so
many more. I am still working my way through these issues; with all of their
complexity, I imagine we all are. But I am increasingly uncertain of any
universal model for respecting or recognizing the value of heritage.</span></div>
<div class="MsoNormal">
<br /></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="ftn1" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="font-family: "arial"; vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;">[1]</span></span></span></span></span></a><span style="font-family: "arial";"> Matthes, “Saving Lives or Saving Stones?” The Ethics
of Cultural Heritage Protection in War, in <i style="mso-bidi-font-style: normal;">Public
Affairs Quarterly</i>. (I am grateful to Dr. Matthes for sharing a draft of
this paper.)</span></div>
</div>
<div id="ftn2" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="font-family: "arial"; vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;">[2]</span></span></span></span></span></a> <span style="font-family: "arial";">See also Matthes’s </span><a href="https://philpapers.org/rec/MATIVU"><span style="font-family: "arial";">Impersonal
Value, Universal Value, and the Scope of Cultural Heritage</span></a><span style="font-family: "arial";">, <i style="mso-bidi-font-style: normal;">Ethics</i>
125 no. 4 (2015): 999-1027.</span></div>
</div>
<div id="ftn3" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="font-family: "arial"; vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;">[3]</span></span></span></span></span></a><span style="font-family: "arial";"> I sincerely recommend the Wikipedia entry on
Joseph’s Tomb (</span><a href="https://en.wikipedia.org/wiki/Joseph%27s_Tomb"><span style="font-family: "arial";">https://en.wikipedia.org/wiki/Joseph%27s_Tomb</span></a><span style="font-family: "arial";">), which is detailed and well-presented. I found it
helpful in providing references for some of the discussion that follows.</span></div>
</div>
<div id="ftn4" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="font-family: "arial"; vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;">[4]</span></span></span></span></span></a><span style="font-family: "arial";"> Taufik Canaan, <i style="mso-bidi-font-style: normal;">Mohammedan
Saints and Sanctuaries in Palestine</i> (London: Luzac & Co., 1927;
reprinted from the <i style="mso-bidi-font-style: normal;">Journal of Palestine
Oriental Studies</i> 4-7 [1924-1927]), pp. 294-295.</span></div>
</div>
<div id="ftn5" style="mso-element: footnote;">
<div class="MsoNormal">
<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;">[5]</span></span></span></span></span></a><span style="font-family: "arial"; font-size: 10.0pt;"> Incorrect claims about the history
of the building circulate widely. For instance, Sandra Scham, By the Rivers of
Change: Strategists on the Heritage Front, in <i style="mso-bidi-font-style: normal;">Controlling the Past, Owning the Future: The Political Uses of
Archaeology in the Middle East </i>(ed. Ran Boytner, Lynn Swartz Dodd, and
Bradley J. Parker; Tucson: University of Arizona Press, 2010), p. 97: “Among
these are Joseph’s Tomb in Nablus, which was sacred to Muslims and Samaritans
but not traditionally identified by other Jews before 1967 as the tomb of the
biblical Joseph.” Alex Shams, meanwhile, suggested that the identification of
the tomb as the burial place of the biblical Joseph was invented by an Irish
journalist, William Cooke Taylor, in the 1830s (Why Do Palestinians Burn Jewish
Holy Sites?: The Fraught History of Joseph’s Tomb, <i style="mso-bidi-font-style: normal;">Mondoweiss</i>, November 12, 2015</span></div>
<div class="MsoNormal">
<a href="http://mondoweiss.net/2015/11/palestinians-fraught-history/"><span style="font-family: "arial"; font-size: 10.0pt;">http://mondoweiss.net/2015/11/palestinians-fraught-history/</span></a><span style="font-family: "arial"; font-size: 10.0pt;">).</span></div>
</div>
<div id="ftn6" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="font-family: "arial"; vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;">[6]</span></span></span></span></span></a><span style="font-family: "arial";"> The yeshiva would be </span><a href="http://www.ynetnews.com/articles/0,7340,L-4509265,00.html"><span style="font-family: "arial";">seized by the IDF in 2014</span></a><span style="font-family: "arial";">, apparently the first time a yeshiva was closed by
the Israeli government, for repeated violence against Palestinians as well as Israeli
forces.</span></div>
</div>
<div id="ftn7" style="mso-element: footnote;">
<div class="MsoNormal">
<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftnref7" name="_ftn7" style="mso-footnote-id: ftn7;" title=""><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;">[7]</span></span></span></span></span></a><span style="font-family: "arial"; font-size: 10.0pt;"> This conclusion has been echoed by Palestinian
archaeologist Adel H. Yahya: Heritage Appropriation in the Holy Land, in <i style="mso-bidi-font-style: normal;">Controlling the Past, Owning the Future: The
Political Uses of Archaeology in the Middle East </i>(ed. Ran Boytner, Lynn
Swartz Dodd, and Bradley J. Parker; Tucson: University of Arizona Press, 2010),
p. 147; and Shams, Why Do Palestinians Burn Jewish Holy Sites?</span></div>
</div>
<div id="ftn8" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftnref8" name="_ftn8" style="mso-footnote-id: ftn8;" title=""><span class="MsoFootnoteReference"><span style="font-family: "arial"; vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;">[8]</span></span></span></span></span></a><span style="font-family: "arial";"> Morag M. Kersel, Transcending Borders: Objects on
the Move, <i style="mso-bidi-font-style: normal;">Archaeologies: Journal of the
World Archaeological Congress</i> 3 no. 2 (August 2007): 81-98.</span></div>
</div>
<div id="ftn9" style="mso-element: footnote;">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftnref9" name="_ftn9" style="mso-footnote-id: ftn9;" title=""><span class="MsoFootnoteReference"><span style="font-family: "arial"; vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;">[9]</span></span></span></span></span></a><span style="font-family: "arial";"> Lynn Meskell, Negative Heritage and Past Mastering
in Archaeology, <i style="mso-bidi-font-style: normal;">Anthropological Quarterly</i>
75 no. 3 (Summer 2002): 557-574.</span></div>
</div>
<div id="ftn10" style="mso-element: footnote;">
<div class="MsoNormal">
<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftnref10" name="_ftn10" style="mso-footnote-id: ftn10;" title=""><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "arial"; font-size: 10.0pt; vertical-align: baseline;">[10]</span></span></span></span></span></a><span style="font-family: "arial"; font-size: 10.0pt;"> Aren M. Maeir, Review of Facts on
the Ground, <i style="mso-bidi-font-style: normal;">Isis</i> 95 no. 3 (September
2004), p. 524; Alexander H. Joffe, Review of Facts on the Ground, <i style="mso-bidi-font-style: normal;">Journal of Near Eastern Studies</i> 64 no. 4
(October 2005), p. 303; Jim Davila, Review of Facts on the Ground,
Paleojudaica.com, September 27, 2007 (</span><a href="http://paleojudaica.blogspot.com/2007/09/review-of-nadia-abu-el-haj-facts-on.html"><span style="font-family: "arial"; font-size: 10.0pt;">http://paleojudaica.blogspot.com/2007/09/review-of-nadia-abu-el-haj-facts-on.html</span></a><span style="font-family: "arial"; font-size: 10.0pt;">). This passage has also seized on
in popular accounts; e.g., Bari Weiss, </span><a href="http://www.haaretz.com/facts-in-the-air-1.234213"><span style="font-family: "arial"; font-size: 10.0pt;">Facts in the Air</span></a><span style="font-family: "arial"; font-size: 10.0pt;">, <i style="mso-bidi-font-style: normal;">Haaretz</i>,
November 29, 2007. Maeir claims further that the tone of her description of the
vandalism is “gleeful” and that she “condones” the act. I find his claims
puzzling, as I fail to see how anyone can read the relevant excerpt from Abu
El-Haj’s book and come away with this impression. Unfortunately, until Abu
El-Haj herself addressed such claims in print earlier this year (<span style="color: black;">Academic Freedom at Risk: The Occasional Worldliness of
Scholarly Texts, in <i style="mso-bidi-font-style: normal;">If Truth Be Told: The
Politics of Public Ethnography</i> [ed. Didier Fassin; Durham: Duke University
Press, 2017])</span>, the only person of whom I’m aware to come publicly to her
defense on this matter is James G. Crossley, <span style="color: black;">Jesus the
Jew since 1967, in <i style="mso-bidi-font-style: normal;">Jesus beyond
Nationalism: Constructing the Historical Jesus in a Period of Cultural
Complexity</i> (ed. Halvor Moxnes, Ward Blanton, and James G. Crossley; London
and New York: Routledge, 2014 [Equinox, 2009]), p. 123; see also <i style="mso-bidi-font-style: normal;">Jesus in an Age of Terror: Scholarly
Projects for a New American Century</i> (London and New York: Routledge, 2014
[Equinox, 2008]), p. 168.</span></span></div>
</div>
</div>
Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com0tag:blogger.com,1999:blog-8753420987763205111.post-19576177632012966632017-08-04T13:25:00.001-05:002019-01-23T10:54:19.731-06:00Won’t Somebody Please Think of the Looters<style>@font-face {
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV-Kso0TSk5Kk6Gh49T_aEUHwIaYpEZlRsX0gTMkzoh5N62f20I_SHjjA4LPBJZ5wNFeNuK90Tm7xpd6iqSsXFZC8_w9zpqPSK4Mr2QKAzPKa53XKSpXOArL4bP4k9m0McvZPeSqQJHac/s1600/Screenshot+2017-08-03+13.53.17.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="359" data-original-width="480" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV-Kso0TSk5Kk6Gh49T_aEUHwIaYpEZlRsX0gTMkzoh5N62f20I_SHjjA4LPBJZ5wNFeNuK90Tm7xpd6iqSsXFZC8_w9zpqPSK4Mr2QKAzPKa53XKSpXOArL4bP4k9m0McvZPeSqQJHac/s400/Screenshot+2017-08-03+13.53.17.png" width="400" /></a></div>
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<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">With
multiple antiquities scandals involving Hobby Lobby currently in the news, we
are seeing perhaps unprecedented attention to issues such as antiquities
trafficking, provenance, and archaeological ethics. One of many articles that I’ve
recently read on these topics, brought to my attention by Caroline Schroeder of
the University of the Pacific, is an opinion piece by Hershel Shanks (<a href="http://www.biblicalarchaeology.org/daily/biblical-artifacts/artifacts-and-the-bible/should-these-looters-go-to-jail/">First
Person: Should These Looters Go to Jail</a>, <i style="mso-bidi-font-style: normal;">Biblical Archaeology Review</i>, July/Augst 2017) (Shanks is founder of
the Biblical Archaeological Society and editor of the society’s popular <i style="mso-bidi-font-style: normal;">Biblical Archaeology Review</i>). Shanks
invites us to imagine a Bedouin (a “young” Bedouin at that) looting a cave near
the Dead Sea, discovering a gold artifact inscribed with the name of King
Solomon. He shows it to an antiquities dealer, who alerts the authorities, leading
to the arrest, trial, and imprisonment of the Bedouin; meanwhile, the artifact
is meets a sensational reception and becomes a priceless part of the Israel
Museum and Israeli culture. Shanks then compares his hypothetical to a real
life incident where the arrest of looters operating in the Cave of Skulls near
the Dead Sea leads to an Israel Antiquities Authority (IAA) excavation.</span></div>
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<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">In
many ways this op-ed is eye-rolling. It implicitly asks us to look favorably on
looting, to celebrate looters as heroes. Shanks and BAS have a history of
advocating for the publication of looted objects, despite the serious problems
of legality, ethics, and loss of scholarly information. This history includes
hosting a 2006 forum on unprovenanced artifacts slanted entirely in favor of
publication, centering on a <a href="https://web.archive.org/web/20071012113017/http://bib-arch.org:80/bswbOOunprovenanced.html">“Statement
of Concern”</a> that misstated the ASOR and AIA policies on ethics, and
asserted without citing any evidence that there is no link between scholarly
publication of unprovenanced finds and looting.</span> <span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">(The work of Neil Brodie <a href="http://traffickingculture.org/people/neil-brodie/">over the last 15 years</a>
strongly suggests otherwise.)</span></div>
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<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">But
one aspect of Shanks’s piece stands out and deserves discussion: the attention
he draws to a rarely discussed issue, the disparity between treatment of
looters and treatment of others involved in antiquities trafficking. As Shanks
writes,</span></div>
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<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">What makes me feel the need to explore
the situation is the fact that the looters alert the archaeologists to the
existence of the other valuable finds in the cave and get sent to jail for it,
while the archaeologists learn from the looters where to dig.</span></div>
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<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">Shanks
is correct: Looters face sustained criticism, including from scholars. This may
take an extreme form, like American archaeologist Elizabeth Stone <a href="http://www.telegraph.co.uk/news/worldnews/northamerica/usa/1435653/Professor-calls-for-looters-to-be-shot.html">urging
American soldiers to shoot Iraqis for the crime of looting</a> in 2003. “</span><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">I would like to see helicopters flying over there shooting
bullets so that people know there is a real price to looting this stuff … You
have got to kill some people to stop this.”</span><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";"></span><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";"> Or
it may be more mundane: an unfortunate ASOR poster/banner at the 2014 ASOR
Annual Meeting described how, in the years after the initial discovery of the
Dead Sea Scrolls, ASOR “rescu[ed]” some additional scrolls from “Bedouin
looting”. What was omitted was that the Dead Sea Scrolls were only discovered in
the first place by Bedouin looting – and several ASOR scholars built careers
around those looted objects. The scholarly community criticizes looting even while
profiting from it.</span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHRICRBv0k7M0qtzBbls2w4j9UMcnr45XEZjxgJyEWpwM70IPettlw4W1gZAGpFua80DTE0_EYG7PUgh0LaxAf-cTf5qNthJaZQeTftsBu6044NK08hpF8c1BUIUIJGBbCAlzWjwHUI5U/s1600/photo+2%25282%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="968" data-original-width="1296" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHRICRBv0k7M0qtzBbls2w4j9UMcnr45XEZjxgJyEWpwM70IPettlw4W1gZAGpFua80DTE0_EYG7PUgh0LaxAf-cTf5qNthJaZQeTftsBu6044NK08hpF8c1BUIUIJGBbCAlzWjwHUI5U/s400/photo+2%25282%2529.JPG" width="400" /></a></div>
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<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">The
antiquities trade involves looters, dealers, and collectors, along with various
middlemen. Of the three main groups, almost all of the burden of punishment
falls on looters. This is both unfair, and unsurprising, because looters have
by far the least power of the groups involved in the trade. Dealers and
collectors are generally richer, and often located outside the source countries
that tightly regulate (or outlaw) trade in antiquities – and so are beyond
their reach. No one calls for shooting dealers or collectors involved in
illegal acts on sight. Shanks has a point here, though motives for looting are
more complicated than mere subsistence looting, as demonstrated both in general
and for the Bedouin specifically by Morag Kersel.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftn1">[1]</a></span><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";"> Bedouin
often view looting as a profession, one that is traditional and has been handed
down generation to generation. They do not fit the oriental stereotype of “ignorant
locals” but are intelligent and resourceful, and knowledgeable about archaeological
sites and artifacts. But, more broadly, people are sometimes forced to loot
sites; looters can include children, <a href="http://english.ahram.org.eg/News/274570.aspx">who sometimes die in the
process</a>. </span></div>
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<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">It
is surprising that Shanks did not pick a different real-life incident to
illustrate his point – <a href="http://www.haaretz.com/print-edition/features/questioning-a-scientist-s-true-intentions-1.227293">one
that mirrors his hypothetical almost exactly</a>. In 2004, three Bedouin discovered
four fragments of an ancient scroll of Leviticus from the Bar Kokhba era (2nd
century CE); they brought them to an antiquities dealer in Hebron, who through
a second dealer in Tel Aviv was able to estimate the fragments’ value at
$20,000. Later the Bedouin brought the scrolls to the attention of noted scholar
Hanan Eshel and his research assistant Roi Porat, whose institution (Bar-Ilan
University) eventually bought the scrolls in early 2005 for $3,000, via a
donation by Swiss collector David Jeselsohn. After initial study of the
fragments Eshel turned them over to the Israel Antiquities Authority. However,
later in the year Eshel and Porat were investigated by the police for
antiquities trafficking; Eshel’s home was searched and he was taken by the
police multiple times for questioning. The scholarly community in Israel
rallied around Eshel, circulating a petition in <i style="mso-bidi-font-style: normal;">Haaretz</i> and insisting that he bought the fragments for <a href="http://www.jpost.com/Israel/Police-probe-leading-archeologist">“pure
academic interests”</a>; that he <a href="http://www.haaretz.com/print-edition/features/questioning-a-scientist-s-true-intentions-1.227293">“rescued”</a>
(<a href="https://hyperallergic.com/390355/dispelling-the-myths-around-the-hobby-lobby-antiquities-case/">there’s
that word again</a>) the scrolls; and for all of this was being treated like a <a href="http://www.haaretz.com/police-offer-evidence-to-indict-archaeology-professor-1.176145">“common
criminal.”</a> </span></div>
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<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">Many
of the details of the case are even now unclear, because of competing claims
from Eshel and the police, and because the news accounts are mostly slanted
toward Eshel. At least some of the most damning police claims appear to be refuted
by actual evidence given by Eshel. Nevertheless, the scholarly community sanitized
Eshel’s actions somewhat. Both Eshel’s purchase of the scroll fragments and his
failure to turn them over to the IAA immediately violated the law. Buried in
most of the discussion is the fact that the cave where the fragments were said
to be found is located in the West Bank, which complicates both the legitimacy
of Eshel’s purchase – <a href="http://www.haaretz.com/police-offer-evidence-to-indict-archaeology-professor-1.176145">the
police had considered charging Eshel with illegally bringing antiquities into
Israel</a> – and Israeli jurisdiction. (The only news outlet to refer to the
location of the cave in the West Bank was <i style="mso-bidi-font-style: normal;">ERETZ
Magazine</i> in 2006, which described it as <a href="http://www.eretz.com/NEW/Eshel.shtml">“technically across the Green Line.”</a>)
There were "problematic aspects in the behavior of both sides,” <a href="http://www.haaretz.com/police-offer-evidence-to-indict-archaeology-professor-1.176145">suggested
archaeologist Isaac Gilead of Ben-Gurion University</a>, in probably the
fairest assessment of the situation. But Eshel and his assistant were never
charged with a crime; the only ones charged, and eventually fined, were the
three Bedouin.</span></div>
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<a class="gie-single" href="http://www.gettyimages.com/detail/53240529" id="1OrEDAMKQoFWdMTv5gWQUw" style="border: none; color: #a7a7a7; display: inline-block; font-weight: normal; text-decoration: none;" target="_blank">Embed from Getty Images</a><script>window.gie=window.gie||function(c){(gie.q=gie.q||[]).push(c)};gie(function(){gie.widgets.load({id:'1OrEDAMKQoFWdMTv5gWQUw',sig:'bnHp9fprgexdcURC3aHgCb6guJ09y2b_6QM2G-XSJNQ=',w:'594px',h:'417px',items:'53240529',caption: true ,tld:'com',is360: false })});</script><script async="" charset="utf-8" src="//embed-cdn.gettyimages.com/widgets.js"></script></div>
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<a class="gie-single" href="http://www.gettyimages.com/detail/53241106" id="4dkznkDTSu5NuGesLRZ4vQ" style="border: none; color: #a7a7a7; display: inline-block; font-weight: normal; text-decoration: none;" target="_blank">Embed from Getty Images</a><script>window.gie=window.gie||function(c){(gie.q=gie.q||[]).push(c)};gie(function(){gie.widgets.load({id:'4dkznkDTSu5NuGesLRZ4vQ',sig:'1DV5Y4z0sCSLlzKHyjFighl5CUTi8uv5qtqoEEQVmUE=',w:'594px',h:'396px',items:'53241106',caption: true ,tld:'com',is360: false })});</script><script async="" charset="utf-8" src="//embed-cdn.gettyimages.com/widgets.js"></script>
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<br />
<span style="font-family: "arial"; font-size: small; mso-bidi-font-family: "Times New Roman";">Above: Hanan Eshel holding photographs of the scroll fragments</span><br />
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";"><span style="font-size: small;">Below: The fragments before cleaning</span> </span><br />
<br />
<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">Shanks
is surely familiar with this episode: between 2005 and 2007 he wrote a series
of op-eds on it for the <i style="mso-bidi-font-style: normal;"><a href="http://www.jpost.com/Israel/Buy-loot-or-lose-it">Jerusaelm Post</a></i>, <a href="https://web.archive.org/web/20070814150749/http://www.thejewishweek.com:80/top/editletcontent.php3?artid=4971">the
<i style="mso-bidi-font-style: normal;">Jewish Week</i></a>, and his own <i style="mso-bidi-font-style: normal;"><a href="http://www.baslibrary.org/biblical-archaeology-review/33/6/2">Biblical
Archaeology Review</a></i>. In those pieces, unlike his hypothetical example
above, Shanks came to the defense of the scholar Eshel while ignoring the fate
of the Bedouin. By the time of Shanks’s first piece on the affair the Bedouin
had already been remanded to a military court. But Shanks showed no concern for
what had happened or would happen to the looters, in stark contrast to his 2017
piece. Perhaps Shanks has changed his views on this issue over the last decade.
Or perhaps his primary goal, even in 2017, is to protect the privilege of scholars
to study looted objects.</span></div>
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<span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">I’ve
come to believe that many people, including many scholars, while they may pay
lip service to the evils of looting, prefer to see looted objects on the market
– because it means more goodies for them to study and publish than could ever
be found in controlled excavation. Condemning looters (while protecting
scholars) is a convenient way to use the least powerful players in the
antiquities trade as a scapegoat and avoid meaningful change. The case of James
Charlesworth (a prominent professor of New Testament Language and Literature at
Princeton Theological Seminary) is exceptional but illuminating: in <a href="https://www.youtube.com/watch?v=bJLDjArsRMA&t=58m19s" target="_blank">the Q&A section of a lecture</a> first highlighted by </span><span class="st"><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Årstein </span></span><i><span style="font-family: "arial"; font-style: normal;">Justnes</span></i><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";"> (of the University of Agder,
Norway), Charlesworth expresses excitement at the poor Palestinian economy,
because (as he claims) Arabs are now digging under their houses and selling him
their finds more cheaply. </span><span style="font-family: "arial"; font-size: 12.0pt;">Shanks’s
piece (whether it was argued in good faith or not) draws attention to how
vastly different such scholars are treated from looters – but then appears to
embrace an idiosyncratic conclusion (let’s honor the looters!). Instead we can
take other approaches, such as holding accountable those with the real power in
the antiquities trade who break laws and ethical codes.</span>
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<div id="ftn1" style="mso-element: footnote;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ftnref1">[1]</a></span><span style="font-family: "arial";"> </span><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";">Morag M. Kersel, Christina Luke, and Christopher H.
Roosevelt, Valuing the Past: Perceptions of Archaeological </span><span style="font-family: "arial";">Practice in Lydia and the Levant, <i style="mso-bidi-font-style: normal;">Journal of Social Archaeology</i> 8 no. 3
(2008): 298-319 (<a href="http://ibrarian.net/navon/paper/Valuing_the_past__Perceptions_of_archaeological_p.pdf?paperid=15540530">pdf</a>).
See also Morag Kersel, <a href="http://traffickingculture.org/publications/kersel-m-2007-transcending-borders-objects-on-the-move-archaeologies-32-81-98/">Transcending
Borders: Objects on the Move</a>, <i style="mso-bidi-font-style: normal;">Archaeologies</i>
3 no. 2 (August 2007): 81-98. This is based on Kersel’s research for her
dissertation: Licensed to Sell: The Legal Trade of Antiquities in Israel, University
of Cambridge, 2006.</span><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";"></span></div>
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Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com4tag:blogger.com,1999:blog-8753420987763205111.post-26611761047046656442017-06-12T11:41:00.000-05:002017-09-21T23:35:33.474-05:00(Not) Finding Byzantine Churches on the Temple Mount: A Short History<style>
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<span style="font-family: "arial";">The Temple Mount in ruins:
This is such an evocative, familiar image of Jerusalem in early Christianity.
The Gospels present Jesus prophesying the future destruction of the Temple. For
early Christian thinkers, the desolate Temple Mount is a crucial representation
of <a href="http://search.proquest.com/docview/304891623">the punishment of
Jews and the triumph of Christianity</a>. The image is so pervasive and
powerful that the idea that Christians left the Mount in ruins in the Byzantine
period is often taken for granted.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Surprisingly, then, there
have been a series of challenges to this idea over the last two centuries. Inspired
by the recent conference <i style="mso-bidi-font-style: normal;"><a href="http://www.providence.edu/arts-sciences/Pages/marking-the-sacred.aspx">Marking
the Sacred: The Temple Mount/Haram al-Sharif in Jerusalem</a></i>, I decided to
take a brief look at these arguments for Byzantine activity on the Temple
Mount. The following is not meant to be a complete presentation, but a few
important instances that I have encountered in research. </span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-family: "arial";">1. The nineteenth century
was a critical time of questioning of the traditional location of sacred and biblical
sites in Palestine by (mostly Protestant) scholars.</span><span style="font-family: "arial";"> One such scholar was James
Fergusson, a Scottish architectural historian. Fergusson suggested that the
original Church of the Holy Sepulchre – built by the emperor Constantine in the
fourth century over what was believed to be the burial place of Jesus – was not
at the site of the current church, but under the Dome of the Rock (in Arabic,
Qubbat al-</span><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Ṣ</span><span style="font-family: "arial";">akhra) on the </span><span style="font-family: "arial"; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";">Ḥ</span><span style="font-family: "arial";">aram al-Shar</span><span style="font-family: "arial"; mso-bidi-font-style: italic; mso-fareast-font-family: "Times New Roman";">ī</span><span style="font-family: "arial";">f (the Noble Sanctuary), traditionally identified as
the Temple Mount. Meanwhile, Fergusson believed that the two Jewish temples had
stood not on the spot of the Dome, as was widely believed, but in the southwest
corner of the Mount/Haram.</span><span style="font-family: "arial"; font-size: 12.0pt;"> Fergusson’s theories were based in part on the <a href="http://www.academia.edu/25232862/1099_1187_The_Lord_s_Temple_Templum_Domini_and_Solomon_s_Palace_Palatium_Salomonis_">Crusader
identification</a> of the Dome of the Rock as Templum Domini, the “Temple of
the Lord” – which they believed had been built by Helena, mother of Consantine,
or by a Byzantine emperor – and the </span><span style="font-family: "times new roman"; font-size: 12.0pt;">‘</span><span style="font-family: "arial"; font-size: 12.0pt;">Aqṣā
</span><span style="font-family: "arial"; font-size: 12.0pt;">Mosque as Templum Salomonis,
the “Temple of Solomon.”</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYDNm5K-nQ0laYVgvZwvhpQ3OTjYheFVW3-SYdT3b_WYUswvUNVKk-oUVOazjbjup2Qehn9vgh8BNF3CFpL8mHiV4NVMbw7K-PzXckAHy2ddN-F-4hSC3gjHhYqluboYLtvUk3sc-U2iA/s1212/Fergusson+1878.jpg" target="_blank"><img alt="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYDNm5K-nQ0laYVgvZwvhpQ3OTjYheFVW3-SYdT3b_WYUswvUNVKk-oUVOazjbjup2Qehn9vgh8BNF3CFpL8mHiV4NVMbw7K-PzXckAHy2ddN-F-4hSC3gjHhYqluboYLtvUk3sc-U2iA/s1212/Fergusson+1878.jpg" border="0" data-original-height="1212" data-original-width="904" height="737" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYDNm5K-nQ0laYVgvZwvhpQ3OTjYheFVW3-SYdT3b_WYUswvUNVKk-oUVOazjbjup2Qehn9vgh8BNF3CFpL8mHiV4NVMbw7K-PzXckAHy2ddN-F-4hSC3gjHhYqluboYLtvUk3sc-U2iA/s640/Fergusson+1878.jpg" width="550" /></a></div>
<div style="text-align: center;">
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--</style><span style="font-size: small;"><span style="font-family: "arial";">Fergusson’s plan of Jewish,
Christian, and “Mohammedan” buildings on the Temple Mount.</span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";"><i>The Temples of the Jews and the Other Buildings in the Haram Area at
Jerusalem</i> (1878).</span></span><br />
<br /></div>
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<span style="font-family: "arial";">Fergusson’s theories were influential.
He and the English music writer George Grove, an amateur biblical
archaeologist, promoted them. Both were founding members of the Palestine
Exploration Fund in London in 1865; Grove was the Fund’s original honorary
secretary. In fact, a primary purpose of Charles Warren’s pioneering
excavations for the Fund in Jerusalem – of which we are now marking the 150th anniversary – was to prove Fergusson’s theories. Fergusson provided much of the
funding for the expedition.</span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-family: "arial"; font-size: 12.0pt;">Warren did not excavate on the Haram/Temple
Mount itself, due to its sensitivity as a sacred area, but tunneled alongside its edges and explored pre-existing
subterranean cisterns and passages beneath it. Over three years he was able to
revolutionize our understanding of ancient Jerusalem’s topography. Ironically,
it was Warren’s achievements that led to the downfall of Fergusson’s theories.
In particular, Warren showed that, at its southern end, the Western Wall was
built over part of an ancient valley (the Tyropoeon Valley of Josephus) running
north-south through the city. By the time the wall was built, the valley here
was already partially filled with debris. Far from being the oldest part of the
Temple Mount, the southwest corner was the most recent addition to it. In
short, Solomon’s Temple could not have stood here.</span><br />
<span style="font-family: "arial"; font-size: 12.0pt;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn7v3OUZFch3qAvTzhbTabMqSDYdQGkpsvD_vPS7VdaA835figo8pKSbDpG91hp9WbR4JE8oCeY5E8GydFo2AJq7JMU8wOyI4C1jqKv8-L9i_bFhlck4ZyT9adq7HxCvzZwjf6-X97FB8/s1600/Warren+1884+pl+10+detail.jpg" target="_blank"><img alt="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn7v3OUZFch3qAvTzhbTabMqSDYdQGkpsvD_vPS7VdaA835figo8pKSbDpG91hp9WbR4JE8oCeY5E8GydFo2AJq7JMU8wOyI4C1jqKv8-L9i_bFhlck4ZyT9adq7HxCvzZwjf6-X97FB8/s1600/Warren+1884+pl+10+detail.jpg" border="0" data-original-height="403" data-original-width="1600" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn7v3OUZFch3qAvTzhbTabMqSDYdQGkpsvD_vPS7VdaA835figo8pKSbDpG91hp9WbR4JE8oCeY5E8GydFo2AJq7JMU8wOyI4C1jqKv8-L9i_bFhlck4ZyT9adq7HxCvzZwjf6-X97FB8/s400/Warren+1884+pl+10+detail.jpg" title="" width="550" /></a> </span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;">
<span style="font-family: "arial";">West-east section through the Temple Mount at
Robinson’s Arch and the southern wall.</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";"> Charles Warren, </span><i><span style="font-family: "arial";">Plans, elevations,
sections, &c., shewing the results of the excavations at Jerusalem, 1867-70</span></i><span style="font-family: "arial";">
(1884), <a href="http://iaa-archives.org.il/zoom/zoom.aspx?id=8321&folder_id=89">pl.
10</a>.</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";">(Click to enlarge.) </span>
</span><style>
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<span style="font-family: "arial"; font-size: 12.0pt;"><br /></span>
<span style="font-family: "arial"; font-size: 12.0pt;"><br /></span>
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<span style="font-family: "arial"; font-size: 12.0pt;">2. It was widely believed in
the nineteenth century that the Byzantine emperor Justinian (527-565) had built
a major church, the famous Nea (New) Church of the Theotokos (Mother of God),
on the Temple Mount. The favorite candidate was the Aqsa Mosque: it was
suggested that the earliest form of the Aqsa was a basilica, like the Nea, with
a cruciform plan. The French scholar </span><i><span style="font-family: "arial"; font-size: 12.0pt; font-style: normal;">Melchior de Vogüé</span></i><span style="font-family: "arial"; font-size: 12.0pt;"> identified the remains of an ancient church in
part of the entryway to the mosque: </span><i><span style="font-family: "arial"; font-size: 12.0pt; font-style: normal;"><a href="https://archive.org/stream/letempledejrusal00vogm#page/69/mode/1up"><span style="mso-bidi-font-style: normal;">“This church could only be the basilica of
Justinian: all the word in agreement on this point.”</span></a></span></i><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghSYYFsg5ZGWOMhZJcZrcs_LvsBKTvW6zBju_BtP6nIA6gva4n1Nce_8AmsVuUyf2JomjVyeImkRvTknWCXtx8DCvuTmhLwGZr0DPzX47GOAhk68VHolfjgMAiQoYTaOl8BkjNRi52ApY/s1600/Melchior+de+Vogue+Chakkah+%2528Hauran%2529+and+Justinian+%2528Aqsa%2529+entryways.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="442" data-original-width="793" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghSYYFsg5ZGWOMhZJcZrcs_LvsBKTvW6zBju_BtP6nIA6gva4n1Nce_8AmsVuUyf2JomjVyeImkRvTknWCXtx8DCvuTmhLwGZr0DPzX47GOAhk68VHolfjgMAiQoYTaOl8BkjNRi52ApY/s400/Melchior+de+Vogue+Chakkah+%2528Hauran%2529+and+Justinian+%2528Aqsa%2529+entryways.png" width="400" /> </a></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: small;"><span style="font-family: "arial";">Doors of church of Shaqqa (Syria)
and of al-Aqsa Mosque.</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";"><i><span style="font-family: "arial"; font-style: normal;">Melchior de Vogüé, </span></i><i><span style="font-family: "arial";">Le Temple de Jérusalem</span></i><i><span style="font-family: "arial"; font-style: normal;"> (1864)</span></i> </span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";">(note that de <i><span style="font-family: "arial"; font-style: normal;">Vogüé calls al-Aqsa Mosque the “Basilica of Justinian”).</span></i></span></span> </div>
<i><span style="font-family: "arial"; font-size: 12.0pt; font-style: normal;"><span style="mso-bidi-font-style: normal;"> </span></span></i><br />
<i><span style="font-family: "arial"; font-size: 12.0pt; font-style: normal;"><span style="mso-bidi-font-style: normal;">
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<i><span style="font-family: "arial"; font-size: 12.0pt; font-style: normal;"><span style="mso-bidi-font-style: normal;"><span style="font-family: "arial";">This identification is
contradicted by some basic historical sources, however. The Byzantine historian
Procopius, who provides the most detailed account of the Nea, states that it
was built on the highest hill in the city – which is not the Temple Mount</span></span></span></i><span style="font-family: "arial"; font-size: 12.0pt; font-style: normal;"><span style="mso-bidi-font-style: normal;"><span style="font-family: "arial";">:</span></span></span><i><span style="font-family: "arial"; font-size: 12.0pt; font-style: normal;"><span style="mso-bidi-font-style: normal;"><span style="font-family: "arial";"> the
western hill, now called Mt. Zion, is higher. And (as <a href="https://books.google.com/books?id=xggEAAAAYAAJ&pg=PA57#v=onepage&q&f=false">pointed
out by the great French scholar Clermont-Ganneau</a> in 1900) there are textual
sources in the ninth century – a century after the Aqsa Mosque was built – that
indicate the Nea Church was still functioning. Not surprisingly, the identification
of the Nea with the Aqsa Mosque fell out of favor in the twentieth century. <a href="http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Procopius/Buildings/5*.html#note22">Various
alternatives were proposed</a>. Finally, excavations by Nahman Avigad and later
Meir Ben-Dov in and just south of the Old City of Jerusalem (after it was captured by
Israel in 1967), on the eastern slope of Mt. Zion, <a href="http://www.biblicalarchaeology.org/daily/biblical-sites-places/jerusalem/found-after-1400-years-the-magnificent-nea/">uncovered
different parts of a massive church</a> that must be the Nea. In a cistern
related to the church <a href="https://www.jstor.org/stable/27925620">Avigad
found an inscription</a> commemorating construction carried out by Justinian. (In
fact, by 1900 Clermont-Ganneau had <a href="https://books.google.com/books?id=xggEAAAAYAAJ&pg=PA55#v=onepage&q&f=false">already
located the Nea on the eastern end of Mt. Zion</a>, using only textual sources.)</span></span></span></i></div>
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<br /></div>
<i><span style="font-family: "arial"; font-size: 12.0pt; font-style: normal;"><span style="mso-bidi-font-style: normal;">
</span></span></i><br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a data-flickr-embed="true" href="https://www.flickr.com/photos/pelegrino/13982689663/in/photolist-niAWug-cSpnE-uthYrf-Sirkbs-4pJnPf-TmaW59-dMayXN-dMaz3q-6HRGPh-ouhkZu-dM51mv-fwTAB-dM51fe-6HRHTw-igUzXJ-8h9VzD-SBbrb5-zCzEZ9-4dnxpS" style="margin-left: 1em; margin-right: 1em;" title="Inscription from the "New Church" in Jerusalem"><img alt="Inscription from the "New Church" in Jerusalem" height="333" src="https://c1.staticflickr.com/3/2907/13982689663_005b75558a.jpg" width="500" /></a></div>
<div style="text-align: center;">
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<span style="font-family: "arial";">Building inscription from
Nea Church cistern, now in the Israel Museum, Jerusalem </span></span><style>
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<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";">(photo by Nick Thompson
via flickr)</span></span>
</div>
<br />
<br />
<span style="font-family: "arial"; font-size: 12.0pt;">3. The idea of Byzantine
activity on the Temple Mount has been revived most recently by Gabriel Barkay
and Zachi Dvira, co-directors of the Temple Mount Sifting Project: their
project has identified coins and many other finds from the Byzantine period. I
have <a href="http://textualcultures.blogspot.com/2015/09/a-king-david-era-seal-and-temple-mount_30.html">previously
identified some of the serious problems with this project</a>. Briefly, what is
relevant here is that the material – bulldozed on the Haram, dumped by truck in the Kidron
Valley, left for about four years, then re-trucked to sifting facilities, <a href="http://www.smithsonianmag.com/history/what-is-beneath-the-temple-mount-920764">where
it has sat in an olive grove</a> – cannot be treated as <a href="http://textualcultures.blogspot.com/2016/09/why-provenance-matters.html">provenanced</a>,
as coming from Temple Mount; even if its origin on the Temple Mount/Haram is
taken as a given, it is widely believed by experts to have come from Islamic period
fill, meaning the dirt (and anything within it) could have been brought to the
Temple Mount/Haram from anywhere nearby. Barkay has insisted that the material
he is sifting was used on the Mount itself, that the Mount was a “closed box”
with no major movement of earth in or out. But he has also qualified these
remarks: it was a <a href="http://www.timesofisrael.com/temple-mount-project-yields-treasure-but-unearths-conflict/">“closed
box” only after the Herodian platform</a> was constructed, and the project has
suggested <a href="https://templemount.wordpress.com/2016/04/19/rare-egyptian-amulet-bearing-name-of-ancient-pharaoh-found-in-earth-discarded-from-temple-mount/">at
least in once case</a> that a pre-Roman find was included in fill brought to
the Temple Mount at that time; and that the dirt piles from the Kidron <a href="http://www.haaretz.com/news/gems-in-the-dirt-1.171769">could have been
contaminated</a> with material not from the Temple Mount. Meanwhile, Meir
Ben-Dov has provided <a href="http://www.haaretz.com/print-edition/features/remnants-of-the-temple-not-in-this-garbage-1.134516">persuasive
arguments</a> that the elevation of the current Haram al-Sharif is lower than
that of the Herodian Temple Mount, meaning that there was major clearance and movement
of earth after the time of Herod.</span><br />
<br />
<span style="font-family: "arial"; font-size: 12.0pt;">
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<span style="font-family: "arial"; font-size: 12.0pt;">4. Contrary to claims that
the Temple Mount has never been excavated, there have been several limited soundings
and trial digs on the Haram al-Sharif. The most important of these took place
between 1938 and 1942, during the British Mandate, while the Aqsa Mosque was
undergoing repairs. Work was observed by several staff members of the Mandate
Department of Antiquities. Among the things they observed were trenches dug below the
present-day floor of the mosque by the contractors carrying out the repairs; in
addition, the Department of Antiquities was also able to dig seven small
trenches under the floor. </span> </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv1Q6zl4CIJKjeKe19mIXLRL8b1Wdw1R4lplSACFRLyiaFhBJYTX9k5BU9Y5qDjMH6a0a1eEvzg5Vuw4mq2UgyyD3CdjD7lFh9H9vNK7RvgSVzugzORlHZIc1V05GKyuG2GFQgK8H8g_8/s1600/SRF+92+Trench+example.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1133" data-original-width="1600" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv1Q6zl4CIJKjeKe19mIXLRL8b1Wdw1R4lplSACFRLyiaFhBJYTX9k5BU9Y5qDjMH6a0a1eEvzg5Vuw4mq2UgyyD3CdjD7lFh9H9vNK7RvgSVzugzORlHZIc1V05GKyuG2GFQgK8H8g_8/s400/SRF+92+Trench+example.jpg" width="400" /></a></div>
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<span style="font-size: small;"><span style="font-family: "arial";">Example of trench under the
floor of al-Aqsa Mosque </span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";">(Mandate Department of Antiquities file SRF 92, photo 21.006)</span></span>
</div>
<br />
<span style="font-family: "arial"; font-size: 12.0pt;">
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<span style="font-family: "arial"; font-size: 12.0pt;">These trenches helped to
clarify the construction history of the mosque. R.W. Hamilton, director of the
Mandate Department of Antiquities at the time, later published a monograph on
this work (<i style="mso-bidi-font-style: normal;">The Structural History of the
Aqsa Mosque</i>, 1949). Not included in the publication were several finds predating
the mosque, which were only briefly alluded to in Hamilton’s report. These
included three sections of mosaic floor, which were first presented by Dvira in
at a conference in 2008 and <a href="http://www.academia.edu/1303951/_New_Information_from_Various_Temple_Mount_Excavations_from_The_Last_Hundred_Years_NSOJ_14_Hebrew_">subsequently
published</a> in the conference proceedings. Unlike the material recovered by
the Temple Mount Sifting Project, these are substantial sections of floor found
<i style="mso-bidi-font-style: normal;">in situ</i>: they must have been in use
on the Temple Mount.</span> </span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPYHGqL5jnQGHcQcog_8_RaMhin6t7ugjp1CNYFs3P6APfbxuFfETFH3FetdeyKL84VUS0EnmO9c_He3lk2fkVmMX-e4axEPVnSwnPpbaJSaIm_oqUhyut7PW-rtXo5M6VrfbRbfFc3rI/s1600/SRF+92+mosaic+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1172" data-original-width="1600" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPYHGqL5jnQGHcQcog_8_RaMhin6t7ugjp1CNYFs3P6APfbxuFfETFH3FetdeyKL84VUS0EnmO9c_He3lk2fkVmMX-e4axEPVnSwnPpbaJSaIm_oqUhyut7PW-rtXo5M6VrfbRbfFc3rI/s320/SRF+92+mosaic+1.jpg" style="cursor: move;" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUwWXxl9dih7B_O8iFeoXf9-oA_tz845WjiDY1Unzz1xoreL9zmCGIGkUUTMaS3SbmNbj4o2P3_RL7YqqWoEB3xxkgD2LgheAUrqtkNPyQLJbBRs-4EVCVKBNxRZeBm3IyQypqU0IhMTA/s1600/SRF+92+mosaic+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1123" data-original-width="1600" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUwWXxl9dih7B_O8iFeoXf9-oA_tz845WjiDY1Unzz1xoreL9zmCGIGkUUTMaS3SbmNbj4o2P3_RL7YqqWoEB3xxkgD2LgheAUrqtkNPyQLJbBRs-4EVCVKBNxRZeBm3IyQypqU0IhMTA/s320/SRF+92+mosaic+2.jpg" width="320" /></a></div>
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sections </span></span></div>
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";">(Mandate Department of Antiquities file SRF 92, photos 20.944, 20.993)</span></span><br />
<span style="font-size: small;"><span style="font-family: "arial";">(Click to enlarge.) </span></span>
</div>
<span style="font-family: "arial"; font-size: 12.0pt;"> </span><br />
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--></style><span style="font-family: "arial";">The only evidence we have
for the floor sections are a small set of photographs from the Mandate Department
files, now put online by the Israel Antiquities Authority (<a href="http://iaa-archives.org.il/ShowFolder.aspx?id=81">SRF 92</a>). It is </span><span style="font-family: "arial"; mso-bidi-language: HE;">difficult to date the floor on
the basis of the photographs, as we have little stratigraphic information. The
only evidence they provide is stylistic: Dvira compares it to two mosaic floors
from Byzantine churches, but also to a wall mosaic from the Dome of the Rock.
Dvira ultimately dismisses the possibility of an Early Islamic date, but the
assumptions behind this dismissal (that there was only one Early Islamic period
building in this area before the Aqsa Mosque, the temporary mosque built by the
caliph ‘Umar; and that we know exactly where this temporary mosque stood) are
questionable. Meanwhile, in a paper just given at the Marking the Sacred
conference, Israeli archaeologists <a href="https://twitter.com/mlsatlow/status/872193150189789184">Yuval Baruch and
Ronny Reich suggested</a> that this mosaic floor is Umayyad.</span></span></div>
<span style="font-family: "arial"; font-size: 12.0pt;">
</span><br />
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<span style="font-family: "arial"; font-size: 12.0pt;"><br /></span></div>
<span style="font-family: "arial"; font-size: 12.0pt;">
<span style="font-family: "arial"; font-size: 12.0pt;">What do we learn from all of this? Despite repeated
interest in finding a Byzantine-period church on the Temple Mount, there is
still no good evidence for one. Unprovenanced finds and photographs of a mosaic
floor without stratigraphic information are not sufficient to overturn the
consensus and the weight of the textual sources behind it.</span>
</span>
Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com3tag:blogger.com,1999:blog-8753420987763205111.post-41293631408175963272017-04-05T11:48:00.000-05:002017-04-07T09:29:31.207-05:00An Enthusiasm for Unprovenanced Artifacts<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/cU0M4YZ1lV8" width="560"></iframe>
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<span style="font-family: "arial"; font-size: small;">National Library of Israel promotional
video for the “Treasures of the Afghan Genizah”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">In Live Science on Monday, <a href="http://www.livescience.com/58507-new-dead-sea-scrolls-sold-in-us.html">Owen
Jarus provided an update</a> on recent sales of 28 unpublished, purported Dead
Sea Scroll fragments to American institutions. I say purported because the
fragments are unprovenanced, and therefore it is difficult if not impossible to
say if they are actually authentic. Several scholars have already suggested
that at least some of these fragments are forgeries. But among the several
interesting pieces of information in Jarus’s article is that Ada Yardeni (an
Israeli epigrapher) has proclaimed all of these fragments to be authentic.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Seeing Yardeni’s name, I was
immediately reminded of my recent reading on the so-called <a href="https://books.google.com/books?id=GWgc2zexTIIC&printsec=frontcover#v=onepage&q&f=false">Hazon
Gabriel</a>, or “Vision of Gabriel” – a stone inscribed with ink, dated by several
experts to the late first century BCE or early first century CE. It too is
unprovenanced, although the owner has stated that he bought it from a
Jordanian-British antiquities dealer (and that it might possibly have come from
the eastern shore of the Dead Sea). The <a href="http://www.jstor.org/stable/23407585?seq=1#page_scan_tab_contents">initial
publication</a> of this unprovenanced stone was by Ada Yardeni and Binyamin Elitzur.</span></div>
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<br /></div>
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<span style="font-family: "arial";">Provenance is very important
in scholarship on ancient artifacts. It is most often cited as a way of proving
the authenticity of an artifact, but perhaps even more important are the <a href="http://textualcultures.blogspot.com/2016/09/why-provenance-matters.html">major
ethical and legal issues involved with unprovenanced material</a>. So it is
noteworthy that, just in the last year, there have been several stories about
unprovenanced inscriptions and other artifacts (purportedly from the greater
Middle East) championed by scholars:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">* Besides the unpublished
purported Dead Sea Scroll fragments described by Jarus, others from the Museum
of the Bible collection and the </span><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman";">Schøyen </span><span style="font-family: "arial";">collection <a href="http://www.livescience.com/56428-25-new-dead-sea-scrolls-revealed.html">published
last year</a>.</span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">* Naama Vilozny’s <a href="http://www.haaretz.com/life/.premium-1.778024">study of demons on Aramaic
magic bowls</a>. (Most Aramaic incantation bowls are unprovenanced; it is unclear
which bowls are the subject of the study.)</span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">* The Israel Antiquities
Authority’s (IAA) <a href="http://www.timesofisrael.com/oldest-hebrew-mention-of-jerusalem-found-on-rare-papyrus-from-7th-century-bce/">unveiling
of a papyrus fragment</a> purportedly from the Iron Age, which if authentic
would be the oldest mention of Jerusalem (the “Jerusalem Papyrus”)</span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">* The National Library of
Israel’s <a href="http://www.haaretz.com/israel-news/.premium-1.742109">purchase
last year of about 250 manuscripts</a>, part of the so-called “Afghan Geniza”.
(Besides the NLI itself, many Israeli scholars have worked on these, even
authenticating them for dealers: Matthew Morgenstern, Shaul Shaked, and others.)</span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">* The widely-heralded
publication of <a href="http://www.cnn.com/2016/09/08/health/oldest-obituary-translation-trnd/index.html">an
unusual Greek epitaph from Egypt</a> (c. 300 CE) in the collection of the
University of Utah</span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">* <a href="https://www.theatlantic.com/magazine/archive/2016/07/the-unbelievable-tale-of-jesus-wife/485573/">Reporting
on the problematic provenance</a> of the notorious Gospel of Jesus’s Wife
fragment</span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">* <i style="mso-bidi-font-style: normal;">Palestine Exploration Quarterly</i>’s publication of <a href="http://www.tandfonline.com/doi/abs/10.1080/00310328.2016.1185895">an
article by Shlomo Guil</a> arguing that the Shapira strips, a notorious 19<sup>th</sup>
century forgery of a supposedly ancient copy of Deuteronomy, were in fact
authentic.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">One observation: despite a series
of recent high-profile fiascos involving unprovenanced inscriptions that were
revealed to be forgeries, there is continued scholarly interest in objects without
provenance. (Just from the list above, the scholarly consensus now is that the
Gospel of Jesus’s Wife is a fake, while serious questions have been raised
about the <a href="http://www.rollstonepigraphy.com/?p=721">Jerusalem Papyrus</a>
and many <a href="http://www.newsweek.com/2016/10/28/dead-sea-scroll-fragments-fake-experts-suspect-511224.html">Dead
Sea Scroll fragments</a>.) As <span style="mso-font-kerning: 0pt;">Årstein
Justnes <a href="https://www.academia.edu/24056084/%C3%85rstein_Justnes_Hazon_Gabriel_A_Modern_Forgery_">puts
it</a>, “the scholarly community continues to receive unprovenanced material
with enthusiasm” (if anything, that enthusiasm is increasing). Christopher
Rollston <a href="https://www.sbl-site.org/publications/article.aspx?ArticleId=370">referred</a>
to the situation (in 2005) as a “crisis.”</span></span></div>
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<br /></div>
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<span style="font-family: "arial";">Another observation: much of
the championing of these unprovenanced artifacts and their authenticity happens
to come from Israeli scholars. (Consider the case of Shaul Shaked, highly
respected professor emeritus of Iranian Studies at Hebrew University: his cv
includes publications on <a href="http://www.brill.com/aramaic-bowl-spells">unprovenanced
Aramaic magic bowls</a>, <a href="http://www.khalilicollections.org/portfolio/aramaic-documents-from-ancient-bactria-fourth-century-bce/">unprovenanced
Aramaic documents from Bactria</a>, and unprovenanced so-called “Afghan Geniza”
manuscripts.) One reason for this: per capita, there is a relatively high
number of perfectly competent Israeli epigraphers to read these inscriptions
and archaeologists to analyze these artifacts. But why such enthusiasm for
unprovenanced artifacts? And why, at the same time, is so much careful work on
provenance and ethics in archaeology and epigraphy being done by scholars in
the <a href="https://lyingpen.com/">Europe</a> and the <a href="http://followthepotsproject.org/">United States</a>? (Although there is
enthusiasm for unprovenanced artifacts – at least those with an apparent
biblical connection – among scholars at seminaries and Christian schools in the
U.S.) Thinking about this recently, I’ve wondered about a couple of possible
connections.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">One: Israel is the only
Middle Eastern country that has <b style="mso-bidi-font-weight: normal;">a legal
antiquities market</b>. In all neighboring countries, trade in antiquities is
illegal; all antiquities are officially considered property of the state. In
Israel, too, all antiquities are considered property of the state – if they
have been found since 1978. By law, objects with a known provenance before that
date may be legally owned and sold by private citizens. There are a legal
antiquities trade, though (in theory at least) very restricted, and licensed
antiquities dealers. The decision to have a legal antiquities trade reflects a
certain attitude toward ancient artifacts: perhaps the special connection that Israel
has attempted to forge with the ancient Jewish past? The Zionist concept of <i style="mso-bidi-font-style: normal;">yedi‘at ha’aretz</i> (“knowledge of the
land”) in material form? At the same time, the process works both ways: the
existence of this legal trade must affect how people, including scholars, view
antiquities. It is not so surprising that unprovenanced antiquities might be
considered acceptable in such an environment more than in others.</span></div>
<div class="MsoNormal" style="tab-stops: 333.0pt;">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Two: There is a marked <b style="mso-bidi-font-weight: normal;">lack of critical theory</b> in Israeli
archaeology, and in biblical archaeology outside of Israel. Israeli archaeology
is “</span><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman";">pure
science for the purpose of studying the past through its archaeological finds,”
the deputy director of the IAA <a href="http://www.bibleinterp.com/articles/Dahari_letter.shtml">tells us</a>. There
is a pervasive scholarly narrative that archaeologists and epigraphers are objective
researchers whose scientific work is <a href="http://www.biblicalarchaeology.org/daily/archaeology-today/biblical-archaeology-topics/the-chasm-between-the-media-and-biblical-archaeological-scholarship/">threatened
by outside influences, misunderstandings, and misuses</a>: by donors,
politicians, clergy, news media, the public. Or that archaeologists <a href="http://www.academia.edu/3985481/Coming_of_Age_The_Decline_of_Archaeology_in_Israeli_Identity">used
to be biased</a> but are no longer so. As a result, working to understand bias
in scholarship is largely <a href="https://books.google.com/books?id=_ZjCBQAAQBAJ&pg=PA315#v=onepage&q&f=false">“trivial”</a>
and a waste of time. This conveniently allows archaeologists to avoid any
consideration of their own role in the production and reception of knowledge.
The result is, ultimately, less concern for issues of ethics and provenance. So
perhaps it is not a coincidence that my biblical archaeologist Ph.D. adviser
spearheaded <a href="https://web-beta.archive.org/web/20060503220857/http://www.bib-arch.org/bswbOOunprovenancedstatement.html">a
defense of scholarly use of unprovenanced artifacts</a> in 2006, in response to
ASOR and AIA ethics policies. These fields encourage the belief that scholars can
and should focus only on “the data” and that critical theory is therefore unimportant
– in fact, consideration of ethical violations is seen as unprofessional
because it deals with things <i style="mso-bidi-font-style: normal;">other</i>
than the data. Unprovenanced artifacts are championed in the name of making all
of “the data” available, in the name of academic freedom.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">These attitudes reflect not
merely naivete or credulousness, as Jusntes and Rollston rightly point out;
they reflect more than enthusiasm for such artifacts. They also reflect
arrogance. They reflect the arrogance that of course we scholars can detect a
forgery; and that we scholars are somehow above the law or can be ignorant of
it. <span style="color: black; mso-themecolor: text1;">“None of the experts who
have spoken publicly on the matter of the Afghan documents appeared to be too
troubled by unanswered questions about their origins, seeming to accept such
things as the cost of doing business in ancient artifacts,” as <a href="http://www.timesofisrael.com/medieval-texts-found-in-afghan-cave/">Ben
Harris of JTA noted</a> for the case of the so-called Afghan Geniza. </span>Shaked
<a href="http://www.nytimes.com/2013/01/15/world/middleeast/documents-illuminate-jewish-life-in-ancient-muslim-empire.html">cavalierly
discusses</a> his authentication of documents for dealers: “<span style="color: black; mso-font-kerning: 0pt; mso-themecolor: text1;">So in a way I am
guilty of having driven up the prices.”</span></span><span style="font-family: "arial";"> In the UK at least, working
on unprovenanced material <a href="https://books.google.com/books?id=sfrVCgAAQBAJ&pg=PA110#v=onepage&q&f=false">could
lead to criminal prosecution</a>. Elsewhere, it is still a matter of working on
(likely) stolen property, and of risking the encouragement of further looting
or forgery. Many scholars appear to feel privileged enough to ignore all of
this.</span>
</div>
<div class="MsoNormal">
<br /></div>
<span style="font-family: "arial"; font-size: 12.0pt;">Provenance is a fundamental issue. If we want to
change scholarly approaches to it, we need to understand the attitudes and laws
that feed into them.</span>
Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com0tag:blogger.com,1999:blog-8753420987763205111.post-44672264009648824462017-03-31T10:30:00.000-05:002017-03-31T10:30:09.345-05:00ISIS Isn't Saving Anything in Mosul<style>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDfpRnWaxrGoF1oLdZuz8a1OEFd5An7ZYuT2qENVjEn-NxkvtBcTPqkMM5uobE6z2WHmXPRe_7RxKDBdudoiaDq7ArCojT-vL1oLMFNKPPactN5zSXjd_UbOWN8ZiAA0WG1xklQkwlx0/s1600/Ruins+of+shrine+of+Nebi+Yunus+January+2017.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDfpRnWaxrGoF1oLdZuz8a1OEFd5An7ZYuT2qENVjEn-NxkvtBcTPqkMM5uobE6z2WHmXPRe_7RxKDBdudoiaDq7ArCojT-vL1oLMFNKPPactN5zSXjd_UbOWN8ZiAA0WG1xklQkwlx0/s400/Ruins+of+shrine+of+Nebi+Yunus+January+2017.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";"> Ruins of the shrine of Nebi
Yunus (“the prophet Jonah”) in Mosul, January 2017 (<a href="http://www.voanews.com/a/3681703.html">VOA</a>)</span></span></div>
<div class="MsoNormal" style="tab-stops: 293.65pt;">
<span style="font-family: "arial";"><span style="mso-tab-count: 1;"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Over the past few months,
Iraqi army forces have retaken much of the city of Mosul in Iraqi Kurdistan
from ISIS (the Islamic State of Iraq and Syria). With the capture of much of
the city– where stories of liberation and horror compete for our attention –
these forces have also captured the mounds of Kuyunjik and Tell Nebi Yunus.
These two artificial hills (or “tells”) and their surroundings form the site of
the famous ancient city of Nineveh, now in eastern Mosul. From the end of
February, news outlets started reporting the discovery of an ancient Assyrian
palace at Tell Nebi Yunus, in tunnels that ISIS had dug into the mound. News
reports about the discovery have varied immensely in quality, and it is often
difficult to sort through the many discrepancies. We have also had our share of
sensational-sounding headlines: <a href="http://www.telegraph.co.uk/news/2017/02/27/previously-untouched-600bc-palace-discovered-shrine-demolished/">“<span style="mso-fareast-font-family: "Times New Roman";">Previously Untouched 600BC
Palace Discovered under Shrine Demolished by Isil in Mosul</span>”</a> (the Telegraph);
<a href="http://www.al-monitor.com/pulse/afp/2017/03/iraq-conflict-mosul-archaeology.html">“Jihadist
tunnels save Assyrian winged bulls of Mosul”</a> (Agence Presse-France); <a href="https://www.theguardian.com/world/2017/mar/08/mosul-iraqi-troops-find-assyrian-treasures-in-network-of-isis-tunnels">“Iraqi
troops find Assyrian treasures in network of Isis tunnels”</a> (the Guardian). Fox
News unsurprisingly <a href="http://www.foxnews.com/science/2017/03/06/biblical-kings-palace-uncovered-beneath-shrine-destroyed-by-isis.html">emphasized
the biblical connection</a> of the palace. But what do we really know here?
Let’s take a step back and sum up the situation to date:</span></div>
<div class="MsoNormal">
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<span style="font-family: "arial"; font-size: small;">Map showing the location of
the shrine of Jonah within the ruins of ancient Nineveh, in eastern Mosul</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">On July 24, 2014, <a href="https://gatesofnineveh.wordpress.com/2014/07/24/and-now-its-gone-shrine-of-jonah-destroyed-by-isis/">ISIS
detonated the shrine of Nebi Yunus</a> (“the prophet Jonah” in Arabic),
standing on the top of Tell Nebi Yunus. The shrine is one traditional site of the
tomb of Jonah, revered by local Muslims and Christians alike. <a href="http://www.newsweek.com/iraqi-forces-recapture-destroyed-jonahs-tomb-isis-mosul-543429">After
Iraqi forces retook this mound</a> in the middle of January, archaeologists
surveying damage to the site discovered that ISIS had dug a series of tunnels
through the mound. These tunnels were apparently designed to loot artifacts for
sale in order to fund their activities. The effort was successful: while the tunnels were mostly empty, a handful of important stone relief sculptures and an inscribed slab were found in them by the archaeologists <span style="color: black;">– presumably because they were
too heavy for ISIS to remove them </span>easily through
the tunnels. It is thought that many smaller artifacts of lesser value <i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">were</span></i>
removed from the site: a <a href="http://www.telegraph.co.uk/news/2017/01/26/priceless-ancient-artifacts-found-hidden-isil-commanders-house/">cache
of more than 100 artifacts discovered</a> in an ISIS commander’s house in
eastern Mosul back in January might have come from these tunnels. Archaeologists
<a href="https://www.yahoo.com/news/jihadist-tunnels-save-assyrian-winged-bulls-mosul-005838652.html">now
warn</a> that there “cave-ins in the tunnels every day,” with danger of
collapse of the entire tunnel system.</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXBELj8TAMlfXOEAGSlwYDU9HZF2qM0ylLifi0nhAJU4Hc80tzx9e2jfL8JlJr6UUVkMY6ZwBzeIXQv5EbguCnqB8bWcr-A5mwb78mG8aGFL65YphwKlFPHhAVXggScwu0NAjS33Pd5yk/s1600/Nebi+Yunus+1932.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXBELj8TAMlfXOEAGSlwYDU9HZF2qM0ylLifi0nhAJU4Hc80tzx9e2jfL8JlJr6UUVkMY6ZwBzeIXQv5EbguCnqB8bWcr-A5mwb78mG8aGFL65YphwKlFPHhAVXggScwu0NAjS33Pd5yk/s400/Nebi+Yunus+1932.jpg" width="400" /></a></div>
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<span style="font-family: "arial";"> <span style="font-size: small;">Tell Nebi Yunus (with the
shrine of Jonah on top) in 1932 </span></span><br />
<span style="font-family: "arial"; font-size: small;">(Matson Photograph Collection, <a href="http://www.loc.gov/pictures/item/mpc2010001723/PP/">via Library of
Congress</a>)</span><br />
<span style="font-family: "arial"; font-size: small;"> </span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH7K93tCh733guqW7gGcQMHgafYdPnjA0S3682Kb2nImclymUspd6oN2cVBbe4TiDDzaS-bJhet3y8e_ICBcTdJZ0X75u91AFeRN7XmJHGNnAmKiI_v8ROrd9JZuBmyDPEalza_XEQgo8/s1600/Nebi+Yunus+1999.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH7K93tCh733guqW7gGcQMHgafYdPnjA0S3682Kb2nImclymUspd6oN2cVBbe4TiDDzaS-bJhet3y8e_ICBcTdJZ0X75u91AFeRN7XmJHGNnAmKiI_v8ROrd9JZuBmyDPEalza_XEQgo8/s400/Nebi+Yunus+1999.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: "arial"; font-size: small;"> Shrine of Jonah in 1999 (by
Roland Unger via <a href="https://commons.wikimedia.org/wiki/File:NiniveNabiYunisOutside.jpg">Wikimedia
Commons</a>)</span></div>
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<br /></div>
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<span style="font-family: "arial";">Now to the sensationalist
headlines: First, despite the claims of <a href="http://www.thenational.ae/world/middle-east/isil-tunnels-save-assyrian-winged-bulls-of-mosul-but-for-how-long">several</a>
<a href="http://www.al-monitor.com/pulse/afp/2017/03/iraq-conflict-mosul-archaeology.html">media</a>
<a href="http://www.inquisitr.com/4027148/saved-by-isil-assyrian-palace-of-king-esarhaddon-from-672bc-found-in-iraq/">outlets</a>,
ISIS did not “save” anything. ISIS looting does seem to have uncovered artifacts from a palace or other royal building – but, if they
hadn’t been uncovered, they would still lie perfectly intact beneath the soil
of the tell. Instead, ISIS has looted a number of artifacts from the site, with
the exact number unknown. Many of these may be lost, many may be illegally
removed from the country. In addition, looting operations are massively – let
me repeat, <i style="mso-bidi-font-style: normal;">massively</i> – destructive.
Any artifacts not deemed of sufficient value on the market (and most artifacts
found at sites generally fall into this category) are discarded or destroyed.
On top of this, we lose not only the objects themselves, but also their
archaeological contexts. Artifacts found in contexts can tell us how they were
used by people, the functions of buildings, and all sorts of details of
everyday life at a settlement. All of this information is now gone from these
tunnels.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Second, it is unclear if
ISIS discovered a previously unknown building. As British Institute for the
Study of Iraq (BISI) chair <a href="http://www.foxnews.com/science/2017/03/06/biblical-kings-palace-uncovered-beneath-shrine-destroyed-by-isis.html">Paul
Collins told Fox News</a>, previous excavations on the mound of Nebi Yunus have
uncovered remains of Assyrian royal buildings. Are the new discoveries related
to one of these buildings? Note also the discrepancy between the claim that
this is a newly discovered palace and the detailed history given of this palace
(which kings founded and renovated it) in several reports. Such a history would
be difficult or impossible to reconstruct if without scientific excavation. How
do we resolve these discrepancies? The history given in the news accounts <a href="https://gatesofnineveh.wordpress.com/2014/07/11/what-is-the-tomb-of-the-prophet-jonah/">actually
seems to describe what we know of an Assyrian royal building</a> partially
excavated at the site in the past, a “review palace” or royal arsenal. The new
discoveries could be part of this building, but we cannot be certain without more
information.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Third, are the reliefs left
in the tunnels in danger from collapse? This concern appears to be exaggerated
in news accounts. It is unclear if the handful of large stone slabs would be
seriously damaged by collapses of dirt above, especially since the condition of
the tunnels is little understood outside of Mosul. In <a href="https://www.yahoo.com/news/jihadist-tunnels-save-assyrian-winged-bulls-mosul-005838652.html">AFP’s
story on the palace</a>, Iraqi archaeologist Layla Salih is cited as follows:</span></div>
<blockquote class="tr_bq">
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<span style="font-family: "arial";">“‘</span><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman";">We fear it could
all collapse at any time,’ entombing the treasures, said Layla Salih.”</span></div>
</blockquote>
<div class="MsoNormal">
<span style="font-family: "arial";">The word “entombing” is not
a direct quote from the archaeologist; it is the journalist’s paraphrase or interpretation.
Is this in fact what Salih is worried about? After all, “entombing” is not a
danger to the artifacts themselves; once again, buried artifacts are relatively
safe. They can be dug out again eventually. (Contrast <a href="http://www.thenational.ae/world/middle-east/isil-tunnels-save-assyrian-winged-bulls-of-mosul-but-for-how-long">the
<i style="mso-bidi-font-style: normal;">National</i> [UAE] version of the AFP
story</a>, which is simply wrong in stating that “[t]he tunnels could collapse
at any time, meaning the treasures would be entombed forever.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">The greater danger from the
instability of the tunnel system is the collapse of a significant portion of
the mound itself. Paul Collins has <a href="http://www.foxnews.com/science/2017/03/06/biblical-kings-palace-uncovered-beneath-shrine-destroyed-by-isis.html">made
a similar observation</a>, emphasizing that the threat is even greater since
the hill was already damaged by the demolition of the shrine of Jonah. Archaeologically,
there would be significant loss of information from the dirt <i style="mso-bidi-font-style: normal;">above</i> the tunnels. This material is stratified
– that is, it records the history of how buildings and dirt layers were
deposited at the site, with artifacts in the contexts where they were abandoned
or discarded in ancient times. When stratified material is excavated properly,
the amount we can learn, about individual artifacts, groups of objects,
buildings, and the entire history of occupation of the settlement for hundreds
and hundreds of years, is nearly limitless. As was already the case with the
looting from the tunnels themselves, all of this information would be lost in
case of collapse. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Beyond this, Tell Nebi Yunus
is still an important part of the living city of Mosul today. The shrine of
Jonah is still a holy place even in its ruined state. A collapse of a
significant portion of the tell would be a major loss, and a setback to any
attempt to restore the shrine. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">There are other problems
with the news reports: The British tabloid the <i style="mso-bidi-font-style: normal;">Daily Star</i> <a href="http://www.dailystar.co.uk/news/latest-news/593613/isis-palace-uncovered-biblical-king-nineveh-iraq">seems
to have invented some details</a>, as we hear not only of stone sculptures but
also “coins, jewelry and mosaics found in the palace” (Not only have no such
small finds have been reported, but more significantly, coins and mosaics did
not exist in Assyria at this time.) Even in Josie Ensor’s generally good report
on the discovery <a href="http://www.telegraph.co.uk/news/2017/02/27/previously-untouched-600bc-palace-discovered-shrine-demolished/">in
the Telegraph</a>, we read (in connection with the inscribed stone slab) that
there are “only a handful of such cuneiforms recovered from the period,” when Neo-Assyrian
cuneiform inscriptions are quite common. Several new stories refer to these
stone reliefs in the tunnels as “treasures.” This is a poor choice of words,
since it presents archaeology less as scientific study of the past than as
treasure hunting. The New York Post describes a <a href="http://nypost.com/2017/03/07/isis-digs-underground-tunnels-to-plunder-ancient-treasures/">“race
against time to save the archaeological treasures”</a>; compare Maev Kennedy’s <a href="https://www.theguardian.com/world/2017/mar/08/mosul-iraqi-troops-find-assyrian-treasures-in-network-of-isis-tunnels">“race
against time to save artefacts”</a> in the Guardian. Gone are the realities of
the war. What we are left with is a romantic image of something exciting and
adventurous – like an Indiana Jones film.</span></div>
<div class="MsoNormal">
<br /></div>
<span style="font-family: "arial"; font-size: 12.0pt;">Our knowledge of what has actually happened here
is partial and provisional. As Iraqi archaeologists continue to study the tell
and the artifacts left in the tunnels, as more and better reports are received
from Mosul, we can get a much clearer picture of what has actually been found
at Tell Nebi Yunus. In the meantime, these stories show that, as usual, we must
read news reports on archaeology in wartime with great caution.</span>
Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com0tag:blogger.com,1999:blog-8753420987763205111.post-13113586049176344542017-03-29T10:27:00.000-05:002017-03-29T10:27:16.473-05:00Growing up with Chuck Berry<div class="getty embed image" style="background-color: white; color: #a7a7a7; display: inline-block; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 11px; max-width: 594px; width: 100%;">
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<div class="MsoNormal">
<span style="font-family: "arial";">Chuck Berry was never my
favorite musician growing up. As I’ve written before, the first musical artist
I really loved was the Beatles. As I’ve also written before, the first musical
artist I really loved was actually the Monkees, but I’m a revisionist when it
comes to this aspect of my history. But Berry’s music was always around: in my parents' music collection. Or Michael J. Fox’s homage to
Berry in <i>Back to the Future</i>. Or listening to oldies stations, back when “oldies”
meant late 1950s and 1960s – including generous portions of early rock ‘n’
roll. It is fair to say that I grew up on Chuck Berry.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">In reality, only a handful
of Berry songs were regularly played on oldies stations (“Rock and Roll Music,”
“Maybellene,” “Nadine” and “No Particular Place to Go”, “School Days,” “Sweet
Little Sixteen,” and of course “Johnny B. Goode”). Instead, I learned much of his
output through the Beatles. The Beatles officially released covers of </span><span style="font-family: "arial";">only </span><span style="font-family: "arial";">two
Berry songs during their time together: “Rock and Roll Music and “Roll Over
Beethoven.” But they had many other songs of his in their repertoire. They recorded
several of these in their many live sessions on the BBC between 1963 and 1965. Judging
by these recordings, almost all included in two Live at the BBC releases, their
setlists included more songs by Berry than by any other artist. I have fond
memories of listening to Beatles’ programs on the weekends in my junior high
and high school years, hearing many of these Berry songs for the first time,
taping them (with other BBC recordings) long before <i>Live at the BBC</i> was
released. In a very real sense, I grew up with Chuck Berry through the Beatles.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">The Beatles, too, grew up
with Chuck Berry: his songs clearly played an important role in their formative
years. Their performances on BBC programs make for an interesting measuring
stick against one of their musical idols. I’ve always preferred Beatles’
version of “Rock and Roll Music” to the original. For the simple fact that a
song titled “Rock and Roll Music” should, quite simply, rock – unlike the
Beatles’ version, Berry’s swings more than rocks (the Beach Boys’ hit cover a
decade later, their “comeback” hit, also fails to rock). I also like the
Beatles’ version of “Too Much Monkey Business” better – perhaps for the same
reason, or perhaps simply because it was the first version I heard.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">On the other hand, the
Beatles do not do “Johnny B. Goode’s” seminal rock real justice. Then there is
“Memphis, Tennessee”: a well-constructed song, and surprisingly tender for Berry
and his usual teenage tales of school and jukeboxes and cars. The Beatles’ version
fails to capture that tenderness as well as Berry – though not as badly as the recording
I was most familiar with growing up, the hit version released a year later by
Johnny Rivers, who turns it into a dance number.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Given the importance of
Berry to the Beatles’ development – and given that he was still active (and
producing hits) during his comeback in 1964 – it is surprising to note that the
two apparently never met during the Beatles’ lifetime. John Lennon first met
Berry only in February 1972, when Lennon and Yoko Ono co-hosted the Mike
Douglas show for a week. It is fascinating to watch the footage of the two
performing together, Lennon torn between performing for the camera and watching
his musical hero.</span></div>
<div class="MsoNormal">
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZbGuxGGOIV0" width="560"></iframe>
</div>
<div class="MsoNormal">
<span style="font-family: "arial";">The irony is that, at the
time of this performance, Lennon was being sued for infringing the copyright of
one of Berry’s songs. <a href="https://books.google.com/books?id=ZuCZR7MiDA0C&pg=PA153#v=onepage&q&f=false">The
tale is really unbelievable</a>: When John Lennon wrote “Come Together” in
1969, he began it with a near-quote from Berry’s “You Can’t Catch Me”: “Here
come a flat-top, he was movin’ up with me”. In the early 1970s, Lennon was sued
by Morris Levy, the notorious <span style="mso-spacerun: yes;"> </span><a href="https://books.google.com/books?id=okaFCwAAQBAJ&printsec=frontcover#v=onepage&q&f=false">“Godfather
of the music industry”</a>, who owned the publishing rights to “You Can’t Catch
Me.” (Berry himself was not involved in the suit.) Levy and Lennon settled out
of court in 1973, with Lennon agreeing to record three songs owned by Levy on
his next album. Lennon’s oldies album <i style="mso-bidi-font-style: normal;">Rock
‘n’ Roll</i> was recorded in part to fulfill the terms of the settlement – until
an increasingly unstable Phil Spector, the album’s producer, disappeared with
the master tapes. As a result, Lennon’s next release was <i style="mso-bidi-font-style: normal;">Walls and Bridges</i>, which violated the terms of the agreement.
Lennon explained the situation to an increasingly anxious Levy, and later gave
him a rough mixes of the recordings (after resuming in New York without
Spector). Levy proceeded to release the mixes as an album on his mail order
label. Levy sued Lennon for breach; Lennon countersued for unauthorized use of
his material and damaging his reputation. (<a href="http://www.abbeyrd.net/lenlevy.htm">In 1977, after Levy’s appeal was
finally ruled on</a>, Lennon prevailed.)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">In an interview in September
1980, <a href="https://books.google.com/books?id=HL7X-YyrINUC&pg=PA201#v=onepage&q&f=false">Lennon
dismissed the importance</a> of Berry’s influence on his song:</span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: "arial";">“Come
Together” is <i style="mso-bidi-font-style: normal;">me</i> – writing obscurely
around an old Chuck Berry thing. I left the line in “Here comes old flat-top.”
It is <i style="mso-bidi-font-style: normal;">nothing</i> like the Chuck Berry
song, but they took me to court because I admitted the influence once years ago.
I could have changed it to “Here comes old iron face,” but the song remains
independent of Chuck Berry or anybody else on earth. (interview with David
Sheff, September 8, 1980; emphasis in original)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">But Lennon appears often to
have used others’ composition as a way to start writing songs. His borrowings
appear regularly at the beginnings of songs: besides the opening words of “Come
Together,” there’s the intro to “Revolution” (from Pee Wee Crayton’s <a href="https://www.youtube.com/watch?v=F_HJwcKuiKs">“Do Unto Others”</a>); and
the opening lines of “Run for Your Life” (lifted from Elvis’s “Baby Let’s Play
House”). As with these other songs, “Come Together” might never have been
written (or might have been written quite differently) if not for this
inspiration.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">This was certainly not the
only legal action involving Berry’s songs. Berry’s regular music publisher Arc
Music (owned by Philip and Leonard Chess from Berry’s label Chess Records along
with Gene and Harry Goodman, younger brothers of Benny) <a href="https://books.google.com/books?id=273eCQAAQBAJ&pg=PA272#v=onepage&q&f=false">threatened
to sue</a> the Beach Boys along with their label Capitol Records in 1963 over
their hit “Surfin’ USA.” The song consists of new lyrics to Berry’s “Sweet
Little Sixteen,” including a list of beaches where Berry has a list of cities,
down to the phrase “all over x” (not to mention that the guitar intro is taken
directly from Berry’s “Brown-Eyed Handsome Man”). Here too there was a
settlement, though this one wasn’t violated: the song was assigned to Berry’s
publishing company, and Berry was eventually given a songwriting credit.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Like the Beatles, the Beach
Boys were greatly influenced by Berry. There is the intro to “Fun, Fun, Fun,”
based on Berry’s guitar intro to “Johnny B. Goode.” But here the irony is that
this, perhaps Berry’s most famous riff, <a href="https://www.blogger.com/null">was
actually lifted</a> by Berry from Carl Hogan’s intro to Louis Jordan’s <a href="https://www.youtube.com/watch?v=fd3qXfF7hqE">“Ain’t That Just Like a
Woman.”</a> In interviews Berry made a point of singling out
the importance of Hogan and Jordan in influencing his music. “If you can call
it my music,” as <a href="https://www.blogger.com/null">Berry
once said</a>, before continuing, “but then there’s nothing new under the sun.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Berry had his own
influences, which he sometimes lifted. But he stole most often from himself.
There was the intro to “Maybellene,” recycled in his very next single, “Thirty
Days”; the identical guitar solos in “Too Much Monkey Business” and “Roll Over
Beethoven”; the melody and instrumental track of his Christmas song “Run
Rudolph Run” reused in “Little Queenie”; the two best-known hits of his
1964 comeback, “No Particular Place to Go” and “Nadine,” reusing the melodies
of “School Day” and (a slowed down) “Maybellene.” When listening to Berry’s
music it is Berry’s own licks and tunes we hear more than anyone else’s – Berry
was really an original after all. Or, to put it another way, everyone grew up
on Chuck Berry . . . even Chuck Berry.</span></div>
Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com2tag:blogger.com,1999:blog-8753420987763205111.post-62963211992517402552017-03-16T10:50:00.001-05:002017-03-16T13:02:37.283-05:00Why I Write about Palmyra<style>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUEXAmmm3YEJI11m-kL9GHJO3H-IzU1I65sC-8zkfvOaIR_LsdEtiThX0JgwilNodjmGLQg9wjOycGm7TrSiqJpU4RQMVJtggFaTxQUXArRZpyG2tA-cu1Qcr7BCBUBpu1KwMu1K6wb3E/s1600/Tadmor381.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUEXAmmm3YEJI11m-kL9GHJO3H-IzU1I65sC-8zkfvOaIR_LsdEtiThX0JgwilNodjmGLQg9wjOycGm7TrSiqJpU4RQMVJtggFaTxQUXArRZpyG2tA-cu1Qcr7BCBUBpu1KwMu1K6wb3E/s400/Tadmor381.jpg" width="295" /></a></div>
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<span style="font-family: "arial";"> </span><span style="font-size: small;">
<span style="font-family: "arial";">Modern town of Palmyra
(Tadmur), Syria, c. 2006</span></span><style>
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<div class="MsoNormal" style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial";">photo by Soman via <a href="https://commons.wikimedia.org/wiki/File:Tadmor381.jpg">Wikimedia Commons</a></span></span>
</div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">About 3 years ago, I started
to be very concerned about how we talk about the Syrian war. News consumers,
academics, all of us. It seemed that we – and scholars of the ancient world in
particular – might care more about ruined buildings than we did about human
beings, even as their lives were being snuffed out by the thousands. I was
moved to start writing about cultural heritage then, trying to highlight how
its importance is completely tied up with its role in people’s lives.</span></div>
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<span style="font-family: "arial";">
<br />
</span><br />
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<div style="margin: 0; padding: 0; text-align: left;">
<span style="font-family: "arial";"><a href="http://www.gettyimages.com/detail/519987802" style="border: none; color: #a7a7a7; display: inline-block; font-weight: normal; text-decoration: none;" target="_blank">Embed from Getty Images</a></span></div>
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<iframe frameborder="0" height="355" scrolling="no" src="//embed.gettyimages.com/embed/519987802?et=iLzLhVbjSb9oQBTRt0gflw&viewMoreLink=on&sig=cXaLeiW175lHfXAF_rDPKyvVIdPoGhMTh9YAHt_j_M8=&caption=true" style="display: inline-block; height: 100%; left: 0; margin: 0; position: absolute; top: 0; width: 100%;" width="594"></iframe></div>
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<span style="font-family: "arial";">
<br />
</span></div>
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<br />
<span style="font-family: "arial";">A year ago I returned to
this topic. At the time, Palmyra was in the news, and I saw the same pattern
repeating itself in how we discussed that city. At the time, I knew next to
nothing about Palmyra. I was unaware that its Arabic name was Tadmur; unaware
that the site had been constantly inhabited up to the twentieth century;
unaware that the modern village was demolished in the early 1930s to allow
archaeologists to dig the Temple of Bel; unaware that there was a modern town
of tens of thousands there today.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">I began to write the
archaeology and history of Palmyra. I focused on two topics: the post-classical
history of the city; and the history of modern Western exploration of and
interaction with it. I felt – and still feel today – that we do not discuss
these topics nearly enough. Instead, we are far too concerned with the
classical city, because, I suspect, we see it as part of our own heritage in
Europe and the United State, unlike the more recent Arab history of the site.
In this way our interactions with the site today disturbingly echo the three
centuries of modern Western interaction with it, and this is something I
desperately want to see changed.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Why don’t I focus on the
inhabitants of the modern town and the war itself? These are very worthy topics
for discussion, but they are not my areas of expertise. I don’t know Arabic,
though I plod through it slowly when necessary for research. My training is in
archaeology. Beyond this, I have spent much time over the last few years
looking at accounts of European and American travelers to the Middle East, and
so Modern European and American accounts of the site were a natural area of
focus. When it comes to the present-day people of Tadmur and Syria, I have
tried to highlight work by others, especially by Syrians themselves.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">In my writing, I try to focus
on issues about which we are often uninformed or even misinformed. I hope that
in some small way it will affect (for the better) how we think and talk about
Palmyra and its inhabitants. But it would be foolish to make changing how we
talk about Palmyra and its inhabitants a goal in itself. Talk, after all, is
cheap. The real problem for Palmyra and Syria is not the attitudes that we in
the U.S. or Europe have, or the attitudes of Bashar al-Assad or ISIS or Al
Qaeda or various rebel groups. The real problem is the actions these people and
groups are carrying out. In short, the war is the problem. Ignoring the
suffering of human beings in Syria (or anywhere in conflict) can make us
indifferent to the horrors of war or even help us to rationalize them. Seeing
their cultural heritage as actually belonging to us, and seeing that heritage
under threat from “barbaric” groups (like ISIS) in the Middle East, can provide
a warped justification for those horrors.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">I worry that we are often more
concerned about symbols and words than we are with actions; I sometimes worry
that I am more concerned with them myself. Symbolism is important, but only as
much as it leads to action. We must always be aware of this. And so I am ultimately
writing to change actions. More precisely, I am writing to change our attitudes
towards Syria and Syrians in order to change actions. Our attitudes play an
important role in leading towards actions, or (even more) in justifying
actions. In justifying death and destruction, theft of resources. In justifying
war itself.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">To be clear: I am not
suggesting my writing will have any significant effect on these problems. My audience
is small and my influence on it smaller still. I hold few illusions about my
occasional writing on this subject and the impact that it has. But I do hold a
few. Illusions can be useful things if they are constructive. Why else would we
write, or try to do our own small part to make the world a better place?</span></div>
Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com0tag:blogger.com,1999:blog-8753420987763205111.post-90387157482965576932017-01-19T08:30:00.000-06:002017-01-19T08:30:44.787-06:00Requiem for a Forger<style>
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</style><span style="font-family: "arial";">Chanan Tigay, <i style="mso-bidi-font-style: normal;">The Lost Book of Moses: The Hunt for the
World’s Oldest Bible</i> (New York: Ecco/HarperCollins, 2016)</span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIt_GEPXQ_-63grxI7btKOPyqrlYAY1l7yLqsQZHkRtfRoR3_6kawwCDxz4i7kuwkVVhKj-FNNlYZUo3q7cpb32tilGJgD6KscWwQ_lMJ5fdGa9NsLYzs9L8jIP2_j1qSIidwboqSCNcY/s1600/large-Press2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIt_GEPXQ_-63grxI7btKOPyqrlYAY1l7yLqsQZHkRtfRoR3_6kawwCDxz4i7kuwkVVhKj-FNNlYZUo3q7cpb32tilGJgD6KscWwQ_lMJ5fdGa9NsLYzs9L8jIP2_j1qSIidwboqSCNcY/s640/large-Press2.jpg" width="520" /></a></div>
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<div class="MsoNormal">
<span style="font-family: "arial";">The tone for Chanan Tigay’s
book is set by the cover: a colorized photograph of Jaffa Gate (Bab al-Khalil)
of Jerusalem’s Old City in the late 19th century. Looking back at the camera, while
the other figures in front of the gate go about their business, is Moses
Shapira, the Jerusalem antiquities dealer and Tigay’s main character. Except
there is one problem: Shapira did not appear in the original picture. Our cover
photo is a fake.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Inside the covers we find
the lengthy tale of the “world’s oldest Bible” in Tigay’s subtitle – not a
complete Bible, but merely the purported original version of the book of
Deuteronomy, with which Shapira showed up in London in summer 1883. Shapira
asked the British Museum for a million pounds to acquire his Deuteronomy
strips; instead, they were declared a forgery, with Shapira leaving the country
in disgrace and committing suicide six months later. The manuscript itself was
lost within a few years of the incident, but has been the subject of recurring
interest since. This notorious incident has been retold many times, in both scholarly
and popular versions, but journalist Tigay combines the tools of investigative
reporting with some recent scholarship in this account of his attempt to find
the strips and determine whether they were authentic.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Tigay’s version is a popular
version, and it can be difficult to review a popular book as a scholar. The
criteria to judge by and even the goals of popular books vs scholarship can be
quite different. But this book, however broad an audience it’s reaching for, is
still a contribution to our knowledge of the past – and it is this contribution
in which I’m most interested. So let’s consider each aspect separately.</span></div>
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<div class="MsoNormal">
<span style="font-family: "arial";">As a popular book: <i style="mso-bidi-font-style: normal;">The Lost Book of Moses</i> makes for fairly
quick reading. It is engaging, other than a tendency to provide unnecessary or
unwanted details. (These include several odd passages focusing on his and others’
undergarments or bodies.) In the end, though, the book is simply anti-climactic:
(<b style="mso-bidi-font-weight: normal;">spoiler</b>) Tigay doesn’t find the manuscript
he spent four years looking for, and on top of this he concludes that it’s a
forgery anyway.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">As a work of scholarship: It
is well-researched – both in terms of extensive investigative reporting and
library research. Tigay uses most of the known (and some previously unknown)
sources that are relevant to the strips. I’m glad that I read this book: I
learned several things about Shapira and the Deuteronomy strips, even as
someone who has researched and written on them before.</span></div>
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<span style="font-family: "arial";">There are many minor errors,
most of which do not affect the main conclusions or the course of the narrative.
But there is one major exception to this: a cluster of errors around the
influential Orientalist scholar Charles Clermont-Ganneau.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Clermont-Ganneau makes two
climactic appearances in Shapira’s life, and for each one Tigay has badly
botched the sequence of events: Clermont-Ganneau’s announcement of Shapira’s
Moabite pottery (the infamous “Moabitica”) as a forgery in 1873-74, and his
announcement of the Shapira strips as a forgery a decade later. In both cases
the effect is to make Ganneau appear to have rushed ideas into print, without
care or “scooping” other scholars, or even “poison[ing] the well” (p. 250). In
both cases Tigay cites and even quotes from the documents that provide the
correct timeline and prove Ganneau mostly innocent of the charges.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Tigay also presents a series
of cases in which he charges that Ganneau stole ideas or discoveries from
others. It is true that Ganneau emphasized his role in the recovery of the
Moabite Stone and neglected to mention F.A. Klein, the missionary who was the
first Westerner to see it, in his publications on the stele. But in general the
evidence for theft in these cases is flimsy or even nonexistent. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">One claim deserves special
attention: that Ganneau stole credit for the discovery of the first Gezer
boundary inscription from Charles Tyrwhitt Drake, a scholar with the Palestine Exploration
Fund’s Survey of Western Palestine. This is a remarkable claim, since that
discovery (and its connection with the identification of Tell Jezar as Gezer)
is one of the most important and famous of Ganneau’s achievements and is
universally credited to him. Tigay’s sole source here is John Moscrop’s <i style="mso-bidi-font-style: normal;">Measuring Jerusalem</i>, which itself has a
large number of errors (as noted in <a href="http://www.academia.edu/3120191/THE_ORIGINS_OF_THE_DISCIPLINES_OF_BIBLICAL_ARCHAEOLOGY_AND_BIBLICAL_STUDIES_AND_THEIR_EARLY_POLITICIZATION">Rachel
Hallote’s review</a> in <i style="mso-bidi-font-style: normal;">Religious Studies
Review</i>, 2004.) Moscrop in turn relies on a letter of Claude Conder, but the
actual text of that letter – <i style="mso-bidi-font-style: normal;">contra</i> Moscrop
and Tigay – makes clear that this claim of theft is merely a false rumor spread
by Ganneau’s enemies in Jerusalem, and Conder declared it baseless.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">These cases then set up a
final charge, that Ganneau stole his proof for revealing the Shapira strips as
a forgery from Christian Ginsburg. Here, the only evidence, besides the
similarities of Ganneau’s and Ginsburg’s points – which Ganneau put into print
before Ginsburg – is the recollection of Ginsburg’s son thirty years later. Looking
at each of these charges on their own, there is little to no supporting
evidence; so Tigay must present them together in order to suggest a pattern of
bad behavior (to poison the well?).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Ironically, for someone
employed in the French consulate, Ganneau was a remarkably undiplomatic person.
He was apparently a difficult man to get along with. He emphasized his own role
in discoveries and scholarship repeatedly, deemphasizing or ignoring the roles
of others. He made many enemies. But Ganneau also had friends among scholars.
And almost everyone respected him immensely for his abilities and his work. The
PEF tried for two years to hire him before they were successful, and even after
he resigned his commission they still promoted him publicly and published new
articles of his for decades.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">So, why does Tigay
consistently make these errors?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Accounts of the Shapira affair
typically present it as a contest between Shapira and Ginsburg (see <a href="http://www.jsasoc.com/Family_archive/Archive/Ginsberg/ginsberg%20&%20shapira%20affair-fred%20reiner.pdf">Fred
Reiner’s excellent contribution</a>), or Shapira and Clermont-Ganneau, with the
latter as Shapira’s long-term nemesis (from the Moabite pottery days). Tigay
adopts this frame, but then does something astonishing: he makes the forger
Shapira his hero.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Shapira is not presented in
a wholly positive light – we see his sometime neglect of his family; his
apparent affair – but Clermont-Ganneau’s presentation is almost completely
negative, except for brief references to his skill and knowledge as a scholar.
This presentation of Ganneau includes the most ungenerous readings, and even
misreadings, of his work and the circumstances surrounding it. To be clear: I
do not imagine that this treatment of Ganneau is intentional. Presumably, through
his search for his strips Tigay has come (understandably) to identify with
Shapira, and therefore casts Ganneau as the main villain – and this naturally
but unfortunately leads to things like the use of unreliable sources without
due diligence and sloppy analysis that consistently cuts against Ganneau.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Meanwhile, Shapira, in
Tigay’s account, is “brilliant,” a “genius,” a “virtuoso forger,” and compared
to Mozart. But there is little concrete evidence to support these praises
beyond the much more subdued assessments in a trade school evaluation (p. 42).
In fact, I think it is pretty clear Shapira was <b>not</b> a virtuoso forger.
Certainly he was good enough to make money off some of them (the Moabitica, the
Philadelphia scrolls). But I am aware of seven Shapira forgeries or groups of
forgeries that have been identified: all were detected during his lifetime; they
were all revealed during his lifetime too (except the Philadelphia scrolls that
were first declared forgeries <a href="http://onthemainline.blogspot.com/2010/02/19th-century-protestant-semitics.html">by
Isaac Hollister Hall</a>, not Cyrus Adler as Tigay has it, two months after
Shapira’s death). Most of those who were qualified to judge his material were
easily able to detect them as forgeries – if Adler is to be believed, an
undergraduate did in one case. This is especially true with the Shapira strips:
every single scholar who considered them (Ginsburg, Clermont-Ganneau, Conder,
Sayce, Neubauer, Guthe, etc.) concluded that they were forged. The one possible
exception is the German scholar of Semitics Paul Schröder – but here we only
have Shapira’s word; Schröder later denied that he ever claimed them to be
authentic. Compare Shapira’s record to <a href="https://www.penn.museum/sites/expedition/a-remarkable-forger/">actual
virtuoso forgers</a> whose work goes undetected for decades and fools multiple
scholars.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Here we hit on the <b>real</b>
problems with the book: romanticizing a forger and his frauds, with all of the
ethical problems that result from this; and sensationalizing the study of the
past, treating it as a whodunit to be solved (when instead scholars typically
look at their work as trying to improve understandings of a never fully
recoverable past). This involves the need to provide a sufficiently engaging
plot, with a strong enough central conflict. Taking 300 pages to pretend that
there is a real question about the authenticity of the strips when the
overwhelming scholarly consensus has always been that they are obvious
forgeries. Insisting that we need to find the strips, or conduct a multi-year
search for them, to find out what kind of a person Shapira truly was, when we
already knew that he built a career on making and selling forgeries and
stealing manuscripts from Jewish communities in Yemen (pp. 195-197).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">But this type of
sensationalism is typical of public presentations of scholarship and the study
of the past. Is this inevitable? Or can we do better?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<i style="mso-bidi-font-style: normal;"><span style="font-family: "arial"; font-size: 12.0pt;">Thanks
to Felicity Cobbing for valuable assistance.</span></i>
</div>
Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com0tag:blogger.com,1999:blog-8753420987763205111.post-10686720750222901472017-01-17T08:12:00.000-06:002017-11-07T21:49:03.391-06:00Reflections on the Mycenaean "Griffin Warrior" Tomb at Pylos<style>
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<div class="MsoNormal">
<br />
<br />
<span style="font-family: "arial";">This month, Smithsonian
magazine has <a href="http://www.smithsonianmag.com/history/golden-warrior-greek-tomb-exposes-roots-western-civilization-180961441/">a
long article by Jo Marchant</a> on an important Mycenaean tomb at Pylos, dubbed
the tomb of the “Griffin Warrior.” In light of this article, I believe it is
very much worth looking at the details of the tomb, as well as at how scholars
and journalists are presenting it.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "arial";">The Tomb</span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">(Note: the most accurate and
detailed source of information on the tomb and its finds is an <a href="http://www.jstor.org/stable/10.2972/hesperia.85.4.0627">academic article</a>
by the co-directors of the excavation, Jack Davis and Sharon Stocker of the
University of Cincinnati: “The Lord of the Rings: The Griffin Warrior of
Pylos,” in the journal <i style="mso-bidi-font-style: normal;">Hesperia</i> [85
no. 4] from October 2016.)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">The tomb was discovered in
May 2015 at Ano Englianos, the site of ancient Pylos. This was the first season
of renewed excavations in the area of the palace at Pylos (the famous earlier
excavations by the University of Cincinnati, led by Carl Blegen, had discovered
the palace and its archive of Linear B tablets). The 2015 excavation carried on
past the scheduled season until the tomb was fully cleared (late October). In
2016, a second season of excavations including digging trenches alongside the
tomb in order to clarify the sequence of its construction.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">The tomb contained a single
body with a wealth of finds: cups, pitchers, and basins of gold, silver, and
bronze – no ceramics; four gold seal rings and 50 seal stones carved with intricate
designs; bronze weapons with hilts of gold and ivory, and a helmet made of
boars tusks; hundreds of beads of gold, glass, and semi-precious stones; an ivory
plaque showing a griffin; six ivory combs; a bronze mirror with an ivory
handle; and a bronze bull’s head, originally topping a staff. Most of the
material is related to Minoan Crete, whether coming from Crete itself or made
in Cretan style. It is still unclear exactly how many objects were buried with
the deceased, though the number is certainly many hundreds. Some reports have
said 2,000+, but this refers to the total number of registration numbers given
out, and many objects were broken and have a registration number for each fragment.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">The tomb is a large shaft
dug into the ground and lined with stone slabs and rubble. Shaft graves are best
known from Mycenae, where two grave circles (Grave Circle A and Grave Circle B)
with incredibly rich shafts were found by Schliemann in the 1870s and Greek
excavations under Papadimitriou and Mylonas in the 1950s – again with large
amounts of material related to Minoan Crete.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">While there was no pottery
among the grave goods deposited with the body, the tomb could be dated by
pottery in the fills deposited during its construction. Late Helladic (LH)
I-IIA sherds were found in the fill laid to make the floor of the tomb as well
as in the fill along what was once the coffin and along the outer walls of the
tomb. We can therefore date the tomb by the latest pottery found in these
fills: LHIIA, c. 1500 BCE. This places the tomb at the tail end of the Grave
Circle phenomenon known from Mycenae, c. 1650 or 1600 to 1500 BCE.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">This is one of the richest
Mycenaean tombs found since Schliemann’s Grave Circle A. And, because of
improvements in excavation and recording techniques, and because the Griffin
Warrior tomb was a single burial (unlike most of the Mycenae shaft graves), we
can learn still learn a great deal about shaft graves and burial practices from
this discovery.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "arial";">The Publicity</span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">The initial set of stories
on the tomb waited until the grave was fully excavated, in late October 2015. A
second set of stories followed almost a year later (early October 2016), marking
the publication of the first academic journal article on the tomb and
presenting some of the findings from that article. The Smithsonian followed
with a longer piece at the beginning of January 2017.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">In these stories we see a
progression from more reserved to less reserved claims. We also see this trend
in the progression from academic article to popular news reports.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">The first crop of news
articles made relatively understated claims, with several qualifications:
“could be,” will “help” understand <a href="http://www.nytimes.com/2015/10/27/science/a-warriors-grave-at-pylos-greece-could-be-a-gateway-to-civilizations.html">the
emergence of Mycenaean palaces</a>, will “deepen” our knowledge of <a href="http://news.nationalgeographic.com/2015/10/151027-pylos-greece-warrior-grave-mycenaean-archaeology/">the
relationship between Minoan Crete and the Mycenaean mainland</a>. A year later,
after the initial analysis and preceding publication of first scholarly article:
the grave “throws light” on <a href="http://www.nytimes.com/2016/10/04/science/greece-archaeology-pylos-griffin-warrior.html">how
Minoan culture spread to the mainland</a>, and <a href="http://www.smithsonianmag.com/smart-news/gold-rings-found-warriors-tomb-connect-two-ancient-greek-cultures-180960680/">“offers
evidence that Mycenaean culture recognized and appreciated Minoan culture more
than previously believed.”</a> There are changes after the analysis:
Archaeologists “now believe” the rings and gemstones of the Griffin Warrior were
“possessions from his culture” and not “loot” from Crete; the analysis “points
to the exchange of ideas and goods” between Crete and the mainland. But the
discussion is still fairly restrained.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">With the new Smithsonian
article, we see something very different. This starts with the headline: the
tomb “upended what we thought we knew about the roots of Western civilization”.
(Compare the earlier headlines: in the first round, the tomb “could be a
gateway to ancient civilizations”; in the second round, the rings “connect two
ancient Greek cultures.”) Based on no new evidence beyond what was known in
October 2016, there is a massive difference in both tone (definitive, and even
past tense) and scope (“upended,” and not just two cultures but the roots of
all of Western civilization). Of course, headlines are often meant to be
attention-grabbing, but this tone and scope is matched in the text of the
article. We read, for instance, that the tomb “offers a radical new
perspective,” not only on the two cultures but through them on “Europe’s
cultural origins” (though we read in the rest of the paragraph that the finds
match those from the shaft graves of Mycenae and on Crete). We find the
archaeologist Davis speculating that the relatively “egalitarian” society
(strange when considering the massive wealth of this individual man’s grave) of
Mycenaean Greece might have laid the foundation for the emergence of Athenian
democracy a millennium later, and for all democracies.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Compare this to the academic
article in Hesperia from October: The boldest claim made is in the conclusion:
“These and other associations that we will explore in future publications
promise to open new doors to our understanding of the Mycenaean belief system.
. .” But mostly we find something much different: the tomb provides “<b style="mso-bidi-font-weight: normal;">new data</b> about Minoan/Mycenaean
iconography and Mycenaean burial customs.” The four gold signet rings “<b style="mso-bidi-font-weight: normal;">confirm</b>” a more intensive relationship
at the beginning of the Late Bronze Age between Pylos and Minoan Crete than
thought before. In general, the statements are less absolute, much narrower in scope,
and instead of something radical the discovery “confirms” something we knew
before, just with “new data.”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">So what is the evidence on
which the new Smithsonian article bases its major claims? It is mostly the same
evidence provided in the academic article: the analysis of the four rings and
the arrangement of the grave goods. Weapons were placed on the left side of the
body, rings and seal stones on the right. Davis and Stocker suggest that
individual items in the burial were matched to those depicted on the gold
rings: a mirror, a bull’s head from a staff.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Based on this, Marchant
writes in the Smithsonian article: “</span><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman";">In their [Davis and Stocker’s] view,
the arrangement of objects in the grave provides the first real evidence that
the mainland elite were experts in Minoan ideas and customs, who understood
very well the symbolic meaning of the products they acquired. ‘The grave shows
these are not just knuckle-scraping, Neanderthal Mycenaeans who were completely
bowled over by the very existence of Minoan culture,” says [British
archaeologist John] Bennet. “They know what these objects are.’”</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">In Hesperia, Davis and
Stocker are very cautious – and rightly so – with the conclusions they draw.
They introduce their analysis with a skeptical quote from Emily Vermeule from
the 1970s: “Most prehistoric art is not really understandable. There is no
convincing way to relate designs on gold to burial rites or to religion or
community symbols of belief.” This is entirely correct: How can we know if the
Mycenaean Greeks understood Minoan symbolism, when we don’t understand much
about Minoan (or Mycenaean, for that matter) symbolism ourselves? If anything,
we should be even more cautious than Davis and Stocker are in the Hesperia
article. They believe that the people who buried the Griffin Warrior matched
specific items (a bull’s head from a staff, a mirror) to objects depicted on
the gold rings. Yet they use language that indicates the identification of those
objects on the rings isn’t certain: “seemingly horns”; “which we interpret as a
mirror.” So we must raise a question that Davis and Stocker do not: If the
mirror and the bull’s head had not been buried in the grave, would they have
interpreted the objects on the rings in the same way? That is, to what extent
was their interpretation of the rings guided by those finds? Even if Davis and
Stocker are correct about the matching of grave goods to the images on the
rings, it is possible that the Minoan craftsmen originally intended to
represent other objects, but that these were reinterpreted by the Mycenaean
buriers as a mirror and a bull’s head.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Either way, nothing
justifies the suggestion by Marchant that the people of Pylos understood Minoan
iconography. Davis and Stocker suggest otherwise in the academic article: they
write that Minoan gold rings on the mainland “were recontextualized in graves
like that of the Griffin Warrior” –new contexts, and therefore new meanings.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">The Smithsonian article does
introduce one new piece of evidence for its dramatic claims, but not from the
tomb itself. The 2016 excavations at Pylos revealed fragments of wall paintings
at mansion houses (that the palace was later built over) – these are suggested
to be the oldest wall paintings found on mainland Greece. The paintings show
strong Minoan influence, with nature scenes including papyrus flowers.
According to Marchant: “Together, the grave goods and the wall paintings
present a remarkable case that the first wave of Mycenaean elite embraced
Minoan culture. . . This has led Davis and Stocker to favor the idea that the
two cultures became entwined at a very early stage.” </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">But does the evidence, and
Davis and Stocker’s conclusion, really “upend” our understanding of how
Mycenaean culture developed? For most of the last two centuries, there have
been perhaps two major understandings of this emergence:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-family: "arial"; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "arial";">Mycenaean culture is simply Minoan culture spread to
mainland Greece; it was brought Cretan colonists. This was the view of Arthur
Evans, and was dominant in the first half of the twentieth century.</span></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<span style="font-family: "arial"; mso-fareast-font-family: Arial;"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><span style="font-family: "arial";">The Minoan-related wealth of early Mycenaean culture
is elite emulation: mainland Greek elites adopting the trappings of the
then-dominant culture, Minoan Crete. This view became more popular in the
second half of the twentieth century, after the decipherment of Linear B (the
writing of the mainland Greek palaces) showed it to be used to write Greek (as
opposed to Linear A, the earlier writing of the Cretan palaces).</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">How does the new evidence –
Minoan-style wealth in the Griffin Warrior grave and Minoan-style wall
paintings on the early houses of Pylos – not fit into <i style="mso-bidi-font-style: normal;">either</i> of these two reconstructions?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">The reality is that the new
idea that Davis and Stocker favor is not all that new. As Marchant describes
it, it is a form of what is called “entanglement.” Entanglement is the idea
that the interaction of two cultures leads to a blending of those cultures, not
the imposition or adoption of one over the other (especially in the case of
colonialism). This idea has been increasingly influential in the archaeology of
the Aegean Bronze Age over the last several years. Marchant even hints at this:
immediately after presenting it as a new idea, she writes that it “fits recent
suggestions” about the end of the Minoan palaces on Crete.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Reading between the lines,
we see that the new evidence plays little role in the adoption of the theory of
entanglement here. (This is even more evident when we remember that the Griffin
Warrior tomb does not present “the Mycenaean belief system at the moment of its
creation,” as Davis and Stocker write in Hesperia, but comes roughly a century
after the start of the Shaft Grave phenomenon.)</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Entanglement, like
colonization and emulation, is a model. The goal of scholarship is generally
not to determine what actually happened in the past (which is often impossible),
but to improve our understanding of the past – to come up with the best models
possible.</span><span style="font-family: "arial"; font-size: 10.0pt;"></span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">As we see in this case,
models are often driven not so much by new evidence as by new scholarly
developments, the emergence of new theories. New evidence may be the immediate
catalyst, but the process of change is much deeper.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Entanglement, at least in
many cases, is probably a better model than what came before: it is a more
sophisticated approach to understanding how cultures interact than simply
asserting the dominance of one culture over another. But it is still a model,
an imperfect explanation. Thirty or forty years from now, few scholars will be
talking about entanglement; we will have new models, presumably better models,
or we may even be asking different questions entirely. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">All of this means that the
interpretations we make are driven as much by our own beliefs as by the
evidence of the past – as much by the present as by the past. Far from
timeless, our models are very much of our time.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">For evidence of this, we
need to look only at the end of Marchant’s Smithsonian article. There we see Davis
and Stocker tying their discovery to the emergence of democracies –that is, to
us. We see the journalist tying entanglement in with rise of nationalism and
xenophobia today. And we find a British archaeologist (John Bennet) looking at
the interaction of Mycenaeans and Minoans and seeing the European Union. All of
this reflects much of the current response of liberalism to Brexit, anti-immigration
policies, and the election of Trump, projected into the past. The specific
models and analogies used here seem forced and stretched.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Of course, it is good that scholars
try to relate the past to the present. This is essential work, and an essential
reason why scholarly work is relevant. But – and this is a huge caveat – we
should be suspicious when we look into the past and see a reflection of
ourselves, as if in a mirror.</span></div>
Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com0tag:blogger.com,1999:blog-8753420987763205111.post-3953002710583321462016-11-17T13:20:00.000-06:002016-11-17T13:20:04.548-06:00Outside the Bubble<style>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlOv4c9aZDQrK9oi2XyU77sDCs8TBSONMjKvYGgD0J4s7_4Q2B-I-sYgYvYvMRnZk3Wrl2lGAsx9WTUyE95H2br9bvfIIsJXrTwTP0MvhF6ywACbwnhpwJQ_4dhj7cKf0GL89CmY5r6g0/s1600/Sebring+1+%2528August+2014%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="409" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlOv4c9aZDQrK9oi2XyU77sDCs8TBSONMjKvYGgD0J4s7_4Q2B-I-sYgYvYvMRnZk3Wrl2lGAsx9WTUyE95H2br9bvfIIsJXrTwTP0MvhF6ywACbwnhpwJQ_4dhj7cKf0GL89CmY5r6g0/s640/Sebring+1+%2528August+2014%2529.JPG" width="550" /></a></div>
<div style="text-align: center;">
<span style="color: black; font-family: "arial"; mso-themecolor: text1;"><span style="font-size: small;"> Sebring, Ohio: North 15th Street (August 2014)</span></span></div>
<br />
<span style="color: black; font-family: "arial"; mso-themecolor: text1;"> </span></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; mso-themecolor: text1;">There has been an interest since the election in geographic and
sociocultural bubbles. In particular, there has been an interest in the bubble
that urban liberals live in, divorced from groups such as the rural (white)
working class. For a long time I was a part of this bubble. For the first three
decades of my life, other than occasional travel, I lived in eastern
Massachusetts. I grew up on the edge of the western suburbs of Boston, and went
to college and grad school closer to the city. Then in 2007 I moved to Israel
for three years. As fate would I have it, I moved not to Jerusalem or Tel Aviv
or their suburbs in the center of the country, but to the city of Ashkelon. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; mso-themecolor: text1;">Ashkelon is a city on the southern coast, just five miles north of the
Gaza Strip. Like the southern region as a whole, is poorer than the rest of
country. Ashkelon is a resort town for those who can’t afford a pricier
vacation in Eilat. The southern part of the country is also home to the largest
concentration of <i style="mso-bidi-font-style: normal;">olim</i> (new
immigrants), and Ashkelon is a major absorption center for these new
immigrants. The city’s population – like others in the south – is composed
largely of Mizrahim (Middle Eastern Jews), Ethiopians, Russians, and most
recently French and North African Jews. This is not by accident. Starting with
the arrival of Mizrahim in late 1940s and 1950s, they were shunted to southern
communities – and largely kept away from Jerusalem and Tel Aviv and their
suburbs in the center of the country, where the Ashkenazi (Jews of East
European ancestry) elite lived. They were routinely discriminated against, <a href="http://972mag.com/the-roots-of-anti-mizrahi-racism-in-israel/114424/">sometimes
viciously</a>. They were trapped in these communities, and these communities
were trapped in poverty. To this day these cities and towns are poorer and less
educated than those in the center. I remember a friend, who taught at an engineering
college in the southern city of Be’ersheva, who told me that his college was a
necessary institution, serving poorer students in the south who didn’t have the
grades to get into the more prestigious Technion in Haifa.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; mso-themecolor: text1;">During my time in the country I often felt very uncomfortable, perhaps
especially in Ashkelon, because of the massive difference in culture from what
I had known. But something else bothered me too. From the moment I moved to
Israel, I encountered constant bewilderment from Israelis about why I was
living in Ashkelon. Sometimes it was snickering and mocking, of the city and
its residents, as crass and rude, as behind the times. People I knew from the
center of the country talked about the backwardness of the town. One insisted
that, while things were bad in Ashkelon now, they would soon improve because
the French were immigrating and they would clean it up. I was appalled by the
condescension, by the classism and racism, by the mocking of the poor and
uneducated.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; mso-themecolor: text1;">* * * * *</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; mso-themecolor: text1;">I returned to the United States in 2010. For the last six years, I’ve lived
in the South and Midwest. Again I’ve experienced massive culture shock. In
particular, I’ve been genuinely disturbed by the number of Confederate flags,
whether flying or as novelty plates. Besides the fact that the flag stands for
slavery and the vilest racism, I am also struck by the inescapable irony that
people who often see themselves as real Americans (as opposed to Northeast or West-coast
liberals) proudly display the flag of secession.</span></div>
<div class="MsoNormal">
<br />
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<br /></div>
<div class="MsoNormal">
<br />
<span style="color: black; font-family: "arial"; mso-themecolor: text1;">The places I’ve lived – Fayetteville, Arkansas and Bloomington, Indiana
– are college towns, where life appears fairly comfortable. This is especially
true of Fayetteville, which is the beneficiary of large amounts of money from
businesses like Walmart and Tyson Foods. But drive around a bit and you will
see signs of poverty and urban decay here too. On the streets you can’t fail to
notice the number of cars and trucks with damage, from dinged-up bumpers to
missing passenger-side mirrors, broken or missing parts patched up with tape,
because people can’t afford to repair their vehicles. If you go to lower- or
middle-class neighborhoods you will see too many houses with peeling paint or
rotting wood or other signs of disrepair, again because their owners can’t
afford to maintain them. Or you may stroll through wealthier neighborhoods and
suddenly stumble upon a small, broken-down house, little more than a shack, in
its midst. Here you can also see, in progress, how gentrification is leading to
the poorer members of the community to be priced out of them by the expanding
universities.</span></div>
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<span id="goog_1351751801"></span><span id="goog_1351751802"></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnqDApMVcHtvDzl8gfhB4So_DaqtPU8-ONaX-H6rD7mMfGwUQWrdz28pWfAE-beHRu4r7nurVKrZPRYfAIRtQxA4Ghz99r8cdrYaje-DJ0hra-KJdPIJsxqy3Y_0gqE1tM3h6SiDv_onk/s1600/Sebring+2+%2528August+2014%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnqDApMVcHtvDzl8gfhB4So_DaqtPU8-ONaX-H6rD7mMfGwUQWrdz28pWfAE-beHRu4r7nurVKrZPRYfAIRtQxA4Ghz99r8cdrYaje-DJ0hra-KJdPIJsxqy3Y_0gqE1tM3h6SiDv_onk/s640/Sebring+2+%2528August+2014%2529.JPG" width="476" /></a></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Sebring, Ohio (August 2014)</span></div>
<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; mso-themecolor: text1;">Go a mere two miles from the center of these cities and you’re in a different
world altogether. Sprawling farmland dotted by small towns. Places like Sebring
(Ohio) or Hazen or Brinkley (Arkansas), with town centers deserted, shops
boarded up or otherwise closed, buildings in disrepair. People with nothing to
do but drugs.</span></div>
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<iframe allowfullscreen="" frameborder="0" height="450" src="https://www.google.com/maps/embed?pb=!1m0!3m2!1sen!2sus!4v1479356252731!6m8!1m7!1sHtd50ROOLHl4N1f7HK9V8Q!2m2!1d34.89928219859964!2d-91.19445371294205!3f331.67!4f-10.219999999999999!5f1.1924812503605784" style="border: 0;" width="600"></iframe>
<iframe allowfullscreen="" frameborder="0" height="450" src="https://www.google.com/maps/embed?pb=!1m0!3m2!1sen!2sus!4v1479356317754!6m8!1m7!1s9DzYFagfAgHK-2TFacx6cQ!2m2!1d34.89839008880575!2d-91.19443197432585!3f171.62!4f-6.290000000000006!5f0.7820865974627469" style="border: 0;" width="600"></iframe>
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<span style="color: black; font-family: "arial"; mso-themecolor: text1;">The large cities are faring little better. Cities, like Memphis or St.
Louis: major parts of them are hollowed-out, empty, in decay. In Memphis I was
struck by the revitalized Beale Street. This consists of a few blocks that have
been renovated primarily for tourists; when you step out of this zone
immediately to the east you see empty lots and crumbling buildings alongside
apartment houses in a residential neighborhood. (You can see the same
phenomenon in smaller cities and towns, like Richmond, Indiana.)</span></div>
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<iframe allowfullscreen="" frameborder="0" height="450" src="https://www.google.com/maps/embed?pb=!1m0!3m2!1sen!2sus!4v1479356369832!6m8!1m7!1s0SADaO6X4vrJj8VmZZ1Hxg!2m2!1d35.13948831262815!2d-90.05099183854216!3f276.61!4f4.299999999999997!5f0.7820865974627469" style="border: 0;" width="600"></iframe></div>
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<iframe allowfullscreen="" frameborder="0" height="450" src="https://www.google.com/maps/embed?pb=!1m0!3m2!1sen!2sus!4v1479356413474!6m8!1m7!1s-X6iTfSCAApihCsahXVcxw!2m2!1d35.13920411021446!2d-90.04826558186055!3f70.46!4f-5!5f0.7820865974627469" style="border: 0;" width="600"></iframe>
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<span style="color: black; font-family: "arial"; mso-themecolor: text1;">As in Israel, I’ve been stunned by much of the reaction of people I know
to these communities. I’ve watched self-described liberals laugh at the
petty criminal activity of people stuck in these dead-end towns; I’ve watched them mock working-class Americans for their lack of education, pretending – for they certainly know better – that it serves as a proxy for intelligence, or
even knowledge (remember, it <b>does</b> serve as a rough proxy for income);
I’ve watched professors too eager to leave their Midwestern college towns every
break for California or New York or abroad.</span></div>
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<iframe allowfullscreen="" frameborder="0" height="450" src="https://www.google.com/maps/embed?pb=!1m0!3m2!1sen!2sus!4v1479356489516!6m8!1m7!1sl3lPUxCW-Ba32yP_-OGqGQ!2m2!1d34.78027829388702!2d-91.58027537542695!3f97.24316533828626!4f-15.03919583507674!5f0.421212245929992" style="border: 0;" width="600"></iframe>
<iframe allowfullscreen="" frameborder="0" height="450" src="https://www.google.com/maps/embed?pb=!1m0!3m2!1sen!2sus!4v1479356515888!6m8!1m7!1snvtCl6SLBhTDCuXo3TPsNA!2m2!1d34.78028064557748!2d-91.58038946263682!3f237.45!4f-13.569999999999993!5f0.7820865974627469" style="border: 0;" width="600"></iframe>
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<span style="font-family: "arial";">There are many great and
beautiful things about the American Midwest and South. But there is too much of
these regions marked by decay: decay of buildings, decay of institutions, decay
of communities. <span style="color: black; mso-themecolor: text1;">And what of the people who live in these communities: mostly working-class Americans, white, African-American, Hispanic, and others alike? They deserve sympathy, and help. They deserve, with all of their flaws, to be treated with respect. Like anyone else. </span></span></div>
Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com1tag:blogger.com,1999:blog-8753420987763205111.post-35569628764204275512016-09-16T09:26:00.000-05:002016-09-16T09:26:17.315-05:00A Look at the ASOR/SBL Provenance Policy<style>@font-face {
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;"></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"></span><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">This is the second of two posts. The
first post, on the meaning and significance of provenance, can be found </span></i><span style="font-family: "arial"; letter-spacing: 0pt;"><a href="http://textualcultures.blogspot.com/2016/09/why-provenance-matters.html"><i style="mso-bidi-font-style: normal;">here</i></a><i style="mso-bidi-font-style: normal;"><span style="color: black; mso-themecolor: text1;">.</span></i></span>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">The Society of Biblical
Literature’s new provenance policy is simply an adoption of the American
Schools of Oriental Research (ASOR) provenance policy. In this post I will look
at some of the main features of that policy and its implications for how we
deal with unprovenanced artifacts.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">The <a href="https://www.sbl-site.org/assets/pdfs/SBL-Artifacts-Policy_20160903.pdf">SBL
announcement</a> directly cites the <a href="http://www.asor.org/about/policies/conduct.html">ASOR policy</a>,
specifically sections III.D (on dissemination of knowledge) and III.E (on
programs and publications). The short D section deals with things such as
proper credits and permissions for publications and encourages use of Open
Access repositories. The extended E section focuses on how unprovenanced
artifacts should be treated. A few comments on this policy are in order:</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">1. The ASOR policy applies
specifically to ASOR venues: conference papers at ASOR meetings; and ASOR
publications. The same is true for the SBL policy. These are guidelines for the
committees that oversee these venues to use in evaluating paper and publication
submissions, as much as for those who make the submissions themselves.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">2. The ASOR policy links
provenance explicitly and at length to archaeological context, but also
mentions both authenticity and illegal acts (looting and smuggling). Compare
this to the aspects of provenance I discussed in the previous post on
provenance.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">3. It is important to
recognize that the ASOR/SBL policy does not constitute a complete ban on
discussion of unprovenanced artifacts; there are a few important exceptions:</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">a. <b style="mso-bidi-font-weight: normal;">Chronological</b>. The policy only applies to discussion of artifacts
that first appeared on the market or in a collection after April 24, 1972
(III.E.4). That specific date is a reference to the </span><span style="font-family: "arial"; letter-spacing: 0pt;"><a href="http://www.unesco.org/new/en/culture/themes/illicit-trafficking-of-cultural-property/1970-convention/">1970
UNESCO Convention <span style="mso-fareast-font-family: "Times New Roman";">on
the Means of Prohibiting and Preventing the Illicit Import, Export and Transfer
of Ownership of Cultural Property</span></a></span><span class="title1"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">, the
main international agreement regulating the antiquities trade and transfer of
“cultural property”: it is the date on which the convention </span></span><span style="color: blue;"><span style="font-family: "arial"; letter-spacing: 0pt;"><a href="http://portal.unesco.org/en/ev.php-URL_ID=13039&URL_DO=DO_TOPIC&URL_SECTION=201.html"><span style="mso-fareast-font-family: "Times New Roman";">went into effect</span></a></span></span><span class="title1"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"> (“entered into force”). </span></span><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">There is no restriction on
discussing artifacts that appeared before that date</span></b><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">. (Note: the Archaeological Institute
of America [AIA] has a similar provision in <a href="https://www.archaeological.org/about/ethicalstandards">its provenance policy</a>.) </span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">b. <b style="mso-bidi-font-weight: normal;">Initial place of publication or announcement</b>. The discussion of
unprovenanced artifacts appearing after April 24, 1972 is not fully prohibited
either. The ASOR/SBL policy merely states that the organizations’ venues will
not serve as an “initial place of publication or announcement” for them
(III.E.4). If an unprovenanced artifact is published in some other venue, there
is no longer any restriction to presenting it at an ASOR or SBL Annual Meeting
or in an ASOR or SBL publication. Of course, this raises the not trivial
question of what constitutes an “initial place of publication or announcement”:
Does it need to be a peer-reviewed publication? Can it be any sort of book or
article? An exhibition catalogue? A blog post? (Again, AIA has a similar provision
in its provenance policy).</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">c. <b style="mso-bidi-font-weight: normal;">Cuneiform exception</b>. The ASOR (and now SBL) policy has what it
calls a “limited exception” for cuneiform tablets (III.E.5-6). Tablets acquired
after 1972 may be presented in ASOR venues, if their lack of provenance is
noted and they are returned to their country of origin after conservation or
publication. But Patty Gerstenblith reported (in 2014) that this provision had
apparently never been used (presumably because mere publication of tablets in
an ASOR venue is little incentive for a private owner to relinquish them to
their country of origin).</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn1">1</a></span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Now let’s look briefly at
a specific example of a set of unprovenanced artifacts: the Museum of the
Bible’s Dead Sea Scroll fragments. Over the summer many scholars were concerned
after </span><span style="font-family: "arial"; letter-spacing: 0pt;"><a href="https://www.facebook.com/groups/1607700532846850?view=permalink&id=1743806745902894&p=0&refid=18">discovering
that</a><span style="color: black; mso-themecolor: text1;"> this year’s SBL Annual
Meeting had a session devoted to these texts. The scholars’ discussion
suggested that SBL’s provenance policy allowed this session merely under a
“loophole” for a “review of a forthcoming publication.” (There was also talk of
organizing to remove this loophole and institute a blanket ban on discussion of
unprovenanced artifacts.) With the announcement of the SBL policy, we are now
in position to evaluate this concern.</span></span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">First, it is to be noted
that at the time these concerns were aired, SBL had no provenance policy, and
the adopted policy does not go into effect until 2017 – meaning it has no
bearing on this year’s Museum of the Bible session. Second, while we lack
information about the chain of custody of the Museum of the Bible texts, they
appear to have surfaced on the antiquities market after 1972, meaning that they
would be governed by the provenance policy. Third, the discussion of a book
review appears to be a misunderstanding of the provision that SBL/ASOR will not
serve as “an initial place of publication or announcement” for such artifacts.
As we have seen, this provision concerning initial place of publication is not
a loophole, but rather a purposely-designed element that is central to the
provenance policies of multiple organizations. In other words, since the Museum
of the Bible Dead Sea Scroll fragments were </span><span style="font-family: "arial"; letter-spacing: 0pt;"><a href="http://www.brill.com/products/book/dead-sea-scrolls-fragments-museum-collection">published
by Brill</a><span style="color: black; mso-themecolor: text1;"> in August, there is
no restriction on presenting them in any SBL venue – or in any venue of ASOR or
AIA for that matter.</span></span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">It is </span><span style="font-family: "arial"; letter-spacing: 0pt;"><a href="http://oldtestamenttextualcriticism.blogspot.com/2016/09/sbl-policy-on-scholarly-presentation.html">sometimes
suggested</a><span style="color: black; mso-themecolor: text1;"> by text scholars
that the AIA and ASOR policies (as well as those of the </span></span><span class="st"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"><a href="https://www.dainst.org/documents/10180/70593/Publication+standards/5c19969b-2518-4170-8698-077abf98b9a5">Deutsches
Archäologisches Institut</a> and the <a href="http://www.ascsa.edu.gr/index.php/publications/author-Ethics-Policy">American
School of Classical Studies at Athens</a>, which are similar</span></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">) are very restrictive. In fact,
compared to the policies of many other organizations – including </span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">a
number of prominent European and Middle Eastern academic journals – this is
true.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn2">2</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span>At the same time, we have seen</span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"> that the
ASOR/SBL and AIA policies constitute far from a blanket ban on discussing
unprovenanced artifacts, each with several exceptions that are very broad in
scope.</span></div>
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On a personal note, I would be in favor of tighter restrictions from
professional societies on the use of unprovenanced artifacts. One area to
address might be ASOR’s (and now SBL’s) cuneiform exception. The exception is
claimed to be a “limited exception,” but this is a strange choice of words for
artifacts appearing, in the ASOR policy’s own terms, on a “truly massive
scale.” In general, I would argue that we should not have exceptions for
individual groups or classes of artifacts but rather work from general
principles. No principles apply to cuneiform tablets that would not apply to many
other inscriptions and manuscripts. It is worth noting here that while ASOR
kept the cuneiform exception in its latest provenance policy (it had already
been in existence for several years), the organization voted down a <a href="http://asorblog.org/2014/11/13/do-not-ostracize-the-ostraca-a-discussion-on-asors-proposed-ethics/">proposed
exception for a specific set of Aramaic ostraca</a> at the same time. </span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">While some of us may wish
for a more restrictive provenance policy, we must be clear on what this
involves. Scholars work with unprovenanced artifacts all of the time. Even if
we are only talking about objects appearing after 1972, this would include well-known
sets of artifacts such as the <a href="http://www.usnews.com/news/world/articles/2015/02/12/ancient-tablets-displayed-in-jerusalem-fuel-looting-debate">Al-Yahudu
tablets</a>, the manuscripts of the so-called “<a href="http://www.haaretz.com/israel-news/1.742109">Afghan Genizah</a>,” and
most of the Aramaic magic bowls.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn3">3</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"> If we
look at this year’s SBL Annual Meeting program, we will find, in addition to
the Museum of the Bible session, at least two papers on the Al-Yahudu tablets
and an entire session on Aramaic magic bowls.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">A more restrictive
provenance policy may be a laudable goal, but I want to conclude with a couple
of cautions: 1. It is unlikely that most of the field (at least, the many scholars
who work with these artifacts) is currently prepared to move in this direction;
2. It is imperative that scholars become more familiar with the significance of
provenance and the operation of provenance policies. I hope that these posts
have helped to increase awareness of the issues involved.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref1">1</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Patty Gerstenblith, Do Restrictions on Publication of
Undocumented Texts Promote Legitimacy?, in <i style="mso-bidi-font-style: normal;">Archaeologies
of Text: Archaeology, Technology, and Ethics</i>, ed. Matthew T. Rutz and Morag
M. Kersel (Oxford: Oxbow Books, 2014), p. 224.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref2">2</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> John Cherry focuses on this issue in Publishing
Undocumented Texts: Editorial Perspectives, in <i style="mso-bidi-font-style: normal;">Archaeologies of Text: Archaeology, Technology, and Ethics</i>, ed.
Matthew T. Rutz and Morag M. Kersel (Oxford: Oxbow Books, 2014), pp. 227-244.</span></div>
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<h4 style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-weight: normal;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref3">3</a></span></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; font-weight: normal;"> On</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; font-weight: normal;">
the problematic provenance history of Aramaic magic bowls see especially the
work of Neil Brodie: for example, Brodie, <a href="http://traffickingculture.org/publications/brodie-n-2008-the-market-background-to-the-april-2003-plunder-of-the-iraq-national-museum-in-p-stone-and-j-farchakh-bajjaly-eds-the-destruction-of-cultural-heritage-in-ira/">The
Market Background to the April 2003 Plunder of the Iraq National Museum</a>, in
<i style="mso-bidi-font-style: normal;">The Destruction of Cultural Heritage in
Iraq</i>, ed. Peter G. Stone and Joanne Farchakh Bajjaly (Woodbridge: Boydell
Press, 2008), pp. 41-54; Brodie, <a href="http://traffickingculture.org/publications/brodie-n-2014-aramaic-incantation-bowls-in-war-and-in-peace-journal-of-art-crime-11-9-14/">Aramaic
Incantation Bowls in War and Peace</a>, <i style="mso-bidi-font-style: normal;">Journal
of Art Crime</i> 11 (Spring 2014): 9-14; Brodie and Morag M. Kersel, <a href="http://traffickingculture.org/publications/brodie-n-and-kersel-m-m-2014-wikileaks-text-and-archaeology-the-case-of-the-schoyen-incantation-bowls-in-rutz-m-t-and-kersel-m-m-eds-archaeology-of-text-archaeology-technology-a/">Wikileaks,
Text, and Archaeology: The Case of the Sch<span style="mso-fareast-font-family: "Times New Roman";">ø</span>yen Incantation Bowls</a>, in <i style="mso-bidi-font-style: normal;">Archaeologies of Text: Archaeology, Technology, and Ethics</i>, ed.
Matthew T. Rutz and Morag M. Kersel (Oxford: Oxbow Books, 2014), pp. 198-213.
This work has also been summarized in an excellent piece by writer Samuel
Thrope, <a href="https://aeon.co/essays/what-should-be-done-with-the-magic-bowls-of-jewish-babylonia">Magic
Bowls of Antiquity</a>, <i style="mso-bidi-font-style: normal;">Aeon</i>, May 24,
2016.</span><span style="font-family: "arial"; font-size: 10.0pt; font-weight: normal;"></span></h4>
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Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com0tag:blogger.com,1999:blog-8753420987763205111.post-20702595715092887442016-09-12T20:26:00.000-05:002016-09-16T15:25:13.779-05:00Why Provenance Matters<style>@font-face {
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">This
is the first of two posts. [Update September 16: Post #2 can be found <a href="http://textualcultures.blogspot.com/2016/09/a-look-at-asorsbl-provenance-policy.html">here</a>.]</span></i></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">On September 7 the Society of Biblical Literature
(SBL) posted a newly-adopted <a href="https://www.sbl-site.org/assets/pdfs/SBL-Artifacts-Policy_20160903.pdf">Policy
on Scholarly Presentation and Publication of Ancient Artifacts</a>, set to go
into effect in 2017. This represents the first time the society has adopted
such a policy. The focus of the policy is providing standards for dealing with
the issue of provenance of artifacts. However, it appears that many scholars,
both archaeologists and text scholars, may not be completely familiar with how provenance
policies work, or with the term or concept of provenance. This post will look
at what provenance is and why it is important; a follow-up post will look at
the details of SBL’s provenance policy.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Provenance is a term adapted from art history: it refers
to the chain of custody of a work of a painting or other work of art, tracing
it back ideally to its creation by an original artist. For archaeologists, the
only truly acceptable origin point of a chain of custody is in the ground – or
some equivalent (for instance, an inscription found <i style="mso-bidi-font-style: normal;">in situ</i> in the wall of a standing building).</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Why does provenance matter for ancient artifacts? I
can identify at least four fundamental reasons: authenticity; archaeological
context; law; and ethics.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">1. <i style="mso-bidi-font-style: normal;">Authenticity</i>.
Provenance is the basis of determining the authenticity of an object; this is
the original application of the concept in art history, going back to the
origins of the term in the 19th century. In archaeology, an object that can be
traced back to the ground (or which is otherwise <i style="mso-bidi-font-style: normal;">in situ</i> at a site) can be virtually guaranteed to be an ancient
artifact. Objects that have other points have origin – which can only be traced
to an antiquities dealer, or to a collector – must be inherently under suspicion.
Tools such as chemical tests of material, or various philological or
iconographic analyses, can also be important in determining authenticity. But
good forgers are able to make use of these tools as much as any scholar;
provenance is much more difficult to fake.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn1">1</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"> From another perspective: these tools can only (more or less) prove a forgery,
while provenance alone can (more or less) prove authenticity.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">2. <i style="mso-bidi-font-style: normal;">Archaeological
context</i>. When an object’s provenance is a controlled archaeological
excavation, we are provided with a great deal of information about that object:
its specific site of origin; its phase or stratum, which provides a date; and
its location within a site, including the specific room or building it was
found in and other associated artifacts. Knowing the archaeological context of an
artifact is the first step in studying typology, chronology, and distribution –
fundamental tasks of both archaeology and epigraphy.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn2">2 </a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
We can also learn much about how an individual object was used. Even when an
object is found in a secondary context (such as a fill layer), we can learn
much about how that object was discarded, or reused. Lack of provenance means
that we have lost all of this information</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">From a stratigraphic perspective, however, the basic
unit of analysis is not the individual object but the archaeological unit, the
locus. Put another way, what matters is not simply the information context
provides about a single artifact, but the information that a group of artifacts
and architecture provide about a context: a room, a courtyard, a building. If we
assume that a significant number of unprovenanced artifacts are not stray
surface finds but are looted – an assumption widely shared by archaeologists </span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn3">3</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
– then lack of provenance indicates an even greater loss. Looting affects not
simply a single artifact but an entire assemblage as well as the context they
were in.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn4">4</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
Objects that are not seen as valuable, such as potsherds and animal bones – in
others words, the vast majority of finds in most archaeological contexts – are
simply discarded. In addition, the material above that context, the entire
stratigraphic record of that area of the site, is destroyed.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Let’s consider a specific example: the Archive Complex
in the Late Bronze Age palace at Pylos, Greece.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn5">5</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
I have chosen this example specifically because it involves texts,as it is
often argued that texts have a great deal of information in themselves and that
not much is lost without contextual information.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn6">6</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
This example may not be a typical one, but is far from unique, and indicates
clearly some of the types of information recoverable about texts in
archaeological contexts. About 1200 tablets were recovered from the excavation
of the palace at Pylos, of which about 1000 were found in the two-room Archive
Complex. From the findspots of the tablets in the archive rooms (along with
occasional finds in other parts of the palace) in combination with other
associated finds and architecture, and clues from the tablets themselves, we
can draw the following likely conclusions about the tablets: they were mostly
composed in different areas of the palace where the materials they record were
stored or worked; they were transported to the Archive Complex in wicker
baskets with labels indicating their contents; they were processed in the
larger of the two archive rooms; they were worked and fixed, or pulped to
recycle the clay (the tablets were unbaked) with water from a pithos (a large
storage jar) in the corner of the larger room; they were transferred to wooden
baskets and stored on wooden shelves in the smaller room; and they were discarded
yearly, after being transferred to more permanent material, perhaps papyrus,
kept elsewhere in the palace. We can also estimate the number of individual
scribes, determine the frequency of their writing, and identify a probable
master scribe who oversaw the processing of the tablets in the archive rooms. In
other words, finding tablets in their archaeological contexts in the Archive Complex
(and the rest of the palace) at Pylos allows us to reconstruct many elements of
scribal activity that would be otherwise unknown.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">If any of these tablets had appeared on the market as
unprovenanced, it would mean that looting had not only ripped the contextual
information from an individual text, but had also destroyed all or part of the
Archive Rooms along with their contents.</span><span style="color: black; font-family: "arial"; font-weight: normal; letter-spacing: 0pt;"> </span></div>
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<span style="color: black; font-family: "arial"; font-weight: normal; letter-spacing: 0pt;">3. <i style="mso-bidi-font-style: normal;">Law</i>. <span style="color: black; font-family: "arial"; font-weight: normal; letter-spacing: 0pt;">Excavation and trade in antiquities are highly regulated
activities, and <a href="http://www.unesco.org/culture/natlaws/">there is a
series of national laws</a> and international treaties that severely restrict
legal conduct. In the Middle East, most countries have prohibited both export
of antiquities and trade in antiquities for decades, and all artifacts are
legally property of the state. The only exception (to my knowledge) is Israel,
and even there antiquities trade and ownership are highly regulated. The
Antiquities Law of 1978 declares that all antiquities discovered from that date
are owned by the state; trade (by licensed dealers) is only allowed in objects
discovered before that time. The primary international instrument regulating
trade in antiquities is the <a href="http://www.unesco.org/new/en/culture/themes/illicit-trafficking-of-cultural-property/1970-convention/">1970
UNESCO Convention</a> </span></span><span style="color: black; font-family: "arial"; font-weight: normal; letter-spacing: 0pt;">on the Means of Prohibiting and Preventing the Illicit
Import, Export and Transfer of Ownership of Cultural Property<span style="color: black; font-family: "arial"; font-weight: normal; letter-spacing: 0pt;">. In occupied territories (for
instance, the West Bank, Gaza Strip, Golan Heights, and Northern Cyprus) and in
cases of warfare, the <a href="http://portal.unesco.org/en/ev.php-URL_ID=13637&URL_DO=DO_TOPIC&URL_SECTION=201.html">1954
Hague Convention for the Protection of Cultural Property in the Event of Armed
Conflict</a> is also in force, prohibiting transfer of antiquities out of
occupied territory and severely restricting activities such as excavations. As
a result of this legal regime, not only is forgery a crime, but most <b><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">genuine</span></i></b><span style="color: black; font-family: "arial"; font-weight: normal; letter-spacing: 0pt;"> unprovenanced artifacts have also
likely been illegally excavated and/or smuggled from their country of origin.</span></span></span></div>
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<span style="font-weight: normal;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"><span style="font-size: small;">A</span>rchaeologists, epigraphers, and other scholars of
the ancient world deal with unprovenanced texts and artifacts all the time. To
take some recent examples that have been in the news: the Museum of the Bible’s
collection (such as the <a href="http://www.brill.com/products/book/dead-sea-scrolls-fragments-museum-collection">Dead
Sea Scroll fragments just published by Brill</a>); the <a href="http://cuneiform.library.cornell.edu/publications/documents-judean-exiles-and-west-semites-babylonia-collection-david-sofer-cusas-28">Al-Yahudu
tablets</a> of Judean deportees in Mesopotamia; and the so-called “Afghan
Genizah,” a set of <a href="http://www.haaretz.com/israel-news/.premium-1.724625">medieval Jewish documents
from Afghanistan</a>. It is likely that the majority of these artifacts are
either fake or illegally excavated and smuggled out of their country of origin.
The Al-Yahudu material apparently comes from Iraq, but its exact origins are
unclear: the owner of the largest collection has claimed (without providing
documentation) they can be traced back to the antiquities market in the 1970s, though
there are claims that they first surfaced on the market in the 1990s, after
massive looting of Iraqi sites in wake of the Gulf War.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn7">7</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
The Afghan material appeared a few years ago, rumored to be from one or more caves
in the country, but with no clear information on provenance. (The Green
collection has not been forthcoming about the origins of their material, so it
is difficult to comment; I have not yet had a chance to look at the newly
published volume to check for information on provenance). The Iraqi Antiquities
Law no. 59 (1936) with amendments in 1974 and 1975 declared ancient artifacts to
be property of the state, outlawed export of and trade in antiquities, and
regulated excavations. In Afghanistan, the Law on the Protection of Historical
and Cultural Properties (2004) and prior antiquities law prohibited export of
antiquities except by the state, while strictly regulating excavation, allowing
private ownership of registered artifacts, and regulating trade in antiquities.</span></span></div>
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<span class="js-expanded-comment"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">The legal implications are apparent in cases such as
the <a href="http://www.thedailybeast.com/articles/2015/10/26/exclusive-feds-investigate-hobby-lobby-boss-for-illicit-artifacts.html">FBI
investigation of the Green family/Museum of the Bible</a> for possible illegal
importation of antiquities from Iraq. And it is certainly conceivable that
scholars (at least in the United Kingdom, under the Proceeds of Crime Act 2002)
could be charged with a crime for working on unprovenanced material.</span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn8">8</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"></span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">4. <i style="mso-bidi-font-style: normal;">Ethics</i>.
Even if legal issues were not a concern, we would still have to deal with our
professional ethics. Antiquities are looted because there is a market for them,
that is, because people collect them. When scholars work on them in the long
process from authentication to publication, they are increasing the value of
objects and ultimately helping to increase demand.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn9">9</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
As scholars, do we want to play a role in increasing looting – and creating a
vicious circle that leads to further loss of information for the material we
study? Do we want to be a party to smuggling artifacts from their countries of
origin to ultimate destinations abroad – especially when they are often
smuggled out of developing nations to more powerful ones? In this case we
should keep in mind <a href="https://books.google.com/books?id=npF5BAAAQBAJ&printsec=frontcover#v=onepage&q&f=false">the
entangled histories of archaeology, exploration of the Middle East, and
imperialism</a>.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Provenance is an essential starting point for dealing
with any ancient artifact. It is the foundation for determining proper
approaches to essentially all aspects of work with both individual pieces and
entire assemblages. “Where is this from?” should be the first question we ask
about an object, and the answer should control our course of action in multiple
ways. Researchers who ignore any of these aspects of provenance do so at their
enormous peril.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref1">1</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> On the need to take the skills and tools of forgers
seriously, see Christopher A. Rollston<a href="https://www.academia.edu/472284/Non-Provenanced_Epigraphs_I_Pillaged_Antiquities_Northwest_Semitic_Forgeries_and_Protocols_for_Laboratory_Tests">,
Non-Provenanced Epigraphs I: Pillaged Antiquities, Northwest Semitic Forgeries,
and Protocols for Laboratory Tests</a>, <i style="mso-bidi-font-style: normal;">Maarav</i>
10 (2003): 135-193.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref2">2</a> </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Christopher Rollston provides an excellent treatment with
examples from epigraphy in <a href="https://www.academia.edu/474444/Non-Provenanced_Epigraphs_II_The_Status_of_Non-Provenanced_Epigraphs_within_the_Broader_Corpus_of_Northwest_Semitic">Non-Provenanced
Epigraphs II: The Status of Non-Provenanced Epigraphs within the Broader Corpus
of Northwest Semitic</a>, <i style="mso-bidi-font-style: normal;">Maarav</i> 11.1
(2004): 57-79.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref3">3</a></span><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: black; letter-spacing: 0pt;"><span style="mso-spacerun: yes;"> </span>See the discussion in Neil Brodie, <a href="http://traffickingculture.org/wp-content/uploads/2012/07/Brodie-2009a.pdf">Consensual
Relations? Academic Involvement in the Illegal Trade in Ancient Manuscripts</a>,
in <i style="mso-bidi-font-style: normal;">Criminology and Archaeology: Studies
in Looted Antiquities</i>, ed. Penny Green and Simon Mackenzie (Oxford: Hart,
2009), p. 47.</span></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref4">4</a><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> As pointed out, for instance, by Patty Gerstenblith<a href="https://canvas.brown.edu/courses/974288/files/52793895/download?wrap=1">,
Do Restrictions on Publication of Undocumented Texts Promote Legitimacy?</a>,
in <i style="mso-bidi-font-style: normal;">Archaeologies of Text: Archaeology,
Technology, and Ethics</i>, ed. Matthew T. Rutz and Morag M. Kersel (Oxford: Oxbow Books, 2014), p. 216.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref5">5</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> On the Archive Rooms, see John Chadwick, <i style="mso-bidi-font-style: normal;">The Mycenaean World</i> (Cambridge:
Cambridge University Press, 1976), chapter 2, The Documentary Evidence; Thomas
G. Palaima and James C. Wright, <a href="http://repository.brynmawr.edu/cgi/viewcontent.cgi?article=1048&context=arch_pubs">Ins
and Outs of the Archive Rooms at Pylos: Form and Function in a Mycenaean Palace</a>,
<i style="mso-bidi-font-style: normal;">American Journal of Archaeology</i> 89
(1985): 251-262; Kevin Pluta, <a href="http://sites.utexas.edu/scripts/files/2016/07/pluta_1996.pdf">A
Reconstruction of the Archives Complex at Pylos: A Preliminary Report</a>, <i style="mso-bidi-font-style: normal;">Minos</i> 31-32 (1996-1997 [1998]): 231-250.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref6">6</a></span><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: black; letter-spacing: 0pt;"><span style="mso-spacerun: yes;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span> </span>For instance, John Boardman, “Archaeologists,
Collectors, and Museums,” in <i style="mso-bidi-font-style: normal;">Whose
Culture? The Promise of Museums and the Debate over Antiquities</i>, ed. James
Cuno (Princeton: Princeton University Press, 2009), p. 113: “</span></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">To claim that an
object without context is worthless is pure nonsense. Renfrew showed us a
famous Greek vase in New York, the interest of which is 98 percent in its sheer
existence (we know who made it, when, and where) with only a 2 percent loss in
knowledge of what Etruscan grave it came from.”</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref7">7</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>See Daniel Estrin, <a href="http://www.usnews.com/news/world/articles/2015/02/12/ancient-tablets-displayed-in-jerusalem-fuel-looting-debate">Ancient
Tablets Displayed in Jerusalem Part of Debate over Looting of Antiquities in
Mideast</a>, Associated Press, February 12, 2015. See also the comments by
Caroline Waerzeggers, <a href="http://cuneiform.library.cornell.edu/sites/default/files/Waerzeggars-Strata%202015-v33.pdf">Review
of Laurie E. Pearce and Cornelia Wunsch, Documents of Judean Exiles and West
Semites in Babylonia in the Collection of David Sofer</a>, <i style="mso-bidi-font-style: normal;">Strata: Bulletin of the Anglo-Israeli Archaeological Society</i> 33
(2015): 188.</span><span style="font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> <span style="color: black;"></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref8">8</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> See Janet Ulph, <a href="https://books.google.com/books?id=sfrVCgAAQBAJ&pg=PA110#v=onepage&q&f=false">Criminal
Offences Affecting the Trade in Art and Antiquities</a>, in <i style="mso-bidi-font-style: normal;">The Illicit Trade in Art and Antiquities:
International Recovery and Criminal and Civil Liability</i> (Oxford: Hart,
2012), p. 110.</span><span style="font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref9">9</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt;"><span style="letter-spacing: 0pt;"><span style="mso-spacerun: yes;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span> </span>This is a
debated point, but Neil Brodie persuasively argues that the entire process of
scholarly involvement with collectors and unprovenanced artifacts is much more
extensive than simply a final publication, and that this process has a
significant effect on the market for antiquities: see for example Brodie, <a href="http://traffickingculture.org/wp-content/uploads/2015/02/Brodie-2011-Scholarship-and-insurgency.pdf">Scholarship
and Insurgency? The Study and Trade of Iraqi Antiquities</a>, presentation at
Institute of Advanced Studies Workshop, “Illicit Traffic of Cultural Objects:
Law, Ethics and Realities,” August 4-5 2011, University of Western Australia;
Brodie, Consensual Relations.</span></span></div>
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Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com0tag:blogger.com,1999:blog-8753420987763205111.post-77622938069572819752016-09-06T08:17:00.001-05:002016-09-06T08:17:51.734-05:00A 10-Foot Marble Zeus in Nineteenth-Century Gaza<style>@font-face {
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhM0u2uViyHqK1f6nY2lLXiEY_MFFIm3aXIMcrK8Ex-GthropHZNjQSbjwjd5t4QAUvkXAHrlM2dvlq3tKGeaTd8RbeNexKhInrsc5sBj-Djk94afBcOLpnVTd08jjo5tDJKisGNFf2KE/s1600/512px-Statue_of_Zeus_dsc02611-.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhM0u2uViyHqK1f6nY2lLXiEY_MFFIm3aXIMcrK8Ex-GthropHZNjQSbjwjd5t4QAUvkXAHrlM2dvlq3tKGeaTd8RbeNexKhInrsc5sBj-Djk94afBcOLpnVTd08jjo5tDJKisGNFf2KE/s640/512px-Statue_of_Zeus_dsc02611-.jpg" width="478" /></a></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;"><span style="font-size: small;"> Zeus statue in Istanbul Archaeology Museum, 2006 </span></span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;"><span style="font-size: small;">(photo by Nevit Dilmen via <a href="https://commons.wikimedia.org/wiki/File:Statue_of_Zeus_dsc02611-.jpg">Wikimedia Commons</a>)</span></span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">It would have been a day much like any other in Gaza towards
the end of the summer in 1879: hot, rainless, cloudless. Local workers were
quarrying stone in one of the sand hills south of the city, as they often did. They
would find antiquities periodically, usually without attention, selling them
or throwing them away. But none of that would have prepared them for the over-life-sized
marble statue, preserved to a height of 10 feet, they found lying in the sand
on this day. The sculpture depicted a seated figure with its left arm and legs
sawn off, the right arm broken at the elbow – Zeus, though no one would have
known this yet. News of the find spread quickly. An English-language newspaper
in Constantinople, the <i style="mso-bidi-font-style: normal;">Commercial
Advertiser</i> (remember, Gaza was then part of the Ottoman Empire), carried a
notice, picked up soon after by the <i style="mso-bidi-font-style: normal;">New
York Herald</i>. “Discovery of a Colossal God of the Philistines at Gaza,” the
headline proclaimed; and the article boasted the report of what it claimed was
an Arab eyewitness. Via the <i style="mso-bidi-font-style: normal;">Herald</i>,
the report was soon carried in papers throughout the English-speaking world (and
beyond) – from the <i style="mso-bidi-font-style: normal;">Aberystwith Observer</i>
to the <i style="mso-bidi-font-style: normal;">Ouachita Telegraph</i> to the <i style="mso-bidi-font-style: normal;">Wallaroo Times and Mining Journal</i>. The
Pasha of Jerusalem, whose administrative territory for the Ottomans included
Gaza, heard too – he sent soldiers to guard the statue, which legally belonged
to Sultan in Constantinople.</span></div>
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<span class="shorttext"><span lang="FR" style="color: black; font-family: "arial"; letter-spacing: 0pt;">This much is certain. Additional</span></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
details of the later (mis)adventures of the statue are harder to confirm, but
two complementary accounts plausibly fill in some gaps.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn1">1</a> </span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"> The Rev. Henry R. Coleman saw the statue in July 1880 while it sat in a Muslim
cemetery in Gaza itself. Only in April had the authorities begun to move the
sculpture, and in three months it traveled only five miles. As it was, it took
300 fellahin (peasants) and a special wagon constructed on the spot to
transport the statue this far. By November the statue had made it to the Jaffa
pier, where Chevarrier the French vice-consul saw it. And there it sat, more
than a year after its discovery, as the Austrian commander who was to take the
statue by ship to Constantinople refused, out of fear of sinking from its
weight (estimated at over 6 tons).</span>
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Discrepancies
and confusion</span></i></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">“This information . . . certainly requires
correction, so that false information about the statue does not come into
circulation.” So worried biblical scholar Hermann Guthe in Leipzig. Guthe was
concerned about the Arab eyewitness’s incorrect description of the gesture of
the left arm – which, as it was entirely missing, had no gesture – but he could
have been writing about any number of false rumors. The same Arab eyewitness
reportedly claimed that the statue was 15 feet high, when in fact the preserved
portion is 10 feet. Without a good image of the statue, its identity was the
subject of wild guesses: Baal, the god Dagon, an Assyrian monument
commemorating their conquest of Palestine. “Others are at liberty to claim it
to be a heroic statue of Samson . . . while others may regard it as the
petrified body of Goliath of Gath if they choose.”</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn2">2</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: black; letter-spacing: 0pt;">Sketches of the statue by Murad (in Guthe 1879),
Conder (1882), and Mendel (<i>Catalogue des
sculptures, tome 2</i>, 1914)</span></span></span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Then there was the matter of the stone quarriers’
reaction. In 1882, pioneering surveyor Claude Conder wrote about it in a report
from Constantinople, where he was visiting the Imperial Museum and saw the
statue.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn3">3</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
Conder claimed that the workers who discovered the statue immediately began to
attack it. (He believed they had damaged the face, but that the missing limbs
of the statue had been broken off when discovered.) The statue was saved only
through the efforts of Rev. W. Shapira, who convinced the Pasha of Jerusalem to
have soldiers guard the site. In Conder’s story the motivation of the Arab
workers to mutilate the statue is left unclear, but a reader in 1882 probably
would have filled it in: the Muslims of Gaza were legendary for their
“fanaticism”. The Rev. W. Shapira of Conder’s tale is Alexander William
Schapira, a Russian Jew who was baptized at 21 in Kishinev, spent time as a
clergyman in England, and served as a missionary in Gaza (and, at other times
in his life, in Sierra Leone and Australia). Schapira was praised in missionary
circles for his work with local schools and the medical dispensary (through
which he evangelized in Gaza) and for reportedly ending the slave trade there.
Accounts of visiting missionaries and other believers routinely refer to the
“fanatical” Muslims of Gaza, their low morals – including their drinking – and
Schapira’s supposed positive effect on them.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn4">4</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span>Schapira himself spread stories of the Gazans’ “abuses and insults,” stones,
and beatings reported to him upon his arrival in Beirut, before even reaching
Palestine, in a letter published in 1879.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn5">5</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
In fact, Conder had described the “native peasantry” of Palestine as a whole as
“brutally ignorant, fanatical, and, above all, inveterate liars.”</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn6">6</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
So it is not surprising that the widely-shared <i style="mso-bidi-font-style: normal;">Commercial Advertiser</i> report states clearly what Conder seems to
imply: the Pasha placed a guard to “prevent any injury by the fanatics of
Gaza”.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">A very different version, however, is provided by the
French journalist Joseph Reinach.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn7">7</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
In Reinach’s tale we read that, on finding the statue, the workmen immediately
contacted a Greek merchant in Gaza and sold it to him for 20 pounds. After he had
paid them the money, the Pasha of Jerusalem heard of the discovery and placed a
guard (there is no mention of Schapira in this story). However, the workmen
refused to repay the merchant, ultimately returning his money only under threat
of incarceration. Nowhere does Reinach describe or even hint at intentional
damage to the statue. The Pasha, meanwhile, is portrayed as focused on selling
the statue: he had already received an offer from the Prussian consul in
Jerusalem, and Reinach urges the French not to lose out.</span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Each of these stories trades on a stereotype of
Arabs: either as violent and fanatical or as greedy. Both are probably
exaggerated, but in reality Reinach’s is probably closer to correct – it is
supported by a first-hand account edited by Guthe. This is ironic, since that
first-hand account – the most detailed and probably the most reliable report on
the discovery of the statue – comes (indirectly) via a Baron von Münchhausen.
In response to Guthe’s request for more information, Münchhausen had sent an
Armenian, George Murad, nephew and secretary of the German vice-consul, to
Gaza. Besides inspecting the statue first-hand, Murad interviewed someone who
identified himself as Michael Basale, the man in Gaza to whom the workmen sold
the statue. </span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">In that account, though, there is no mention of
incarceration or the refusal to repay. Guthe does mention that the Germans,
English, Americans, and French were all interested in the statue, and that
there was an offer of 200 Turkish pounds for the statue from an unknown source.
But the Pasha had already been instructed by Constantinople by December 1879
that the statue should be sent there. After all, Ottoman antiquities laws – the
latest enacted in 1874 – stated that such finds were property of the state. Apparently
not everyone knew of such things, however: in April 1881 – by which point the
statue was apparently already in Constantinople – rumors about offers for the
statue were still being discussed. At that time, the Baltimore papers reported
that John Baldwin Hay, former U.S. consul-general to Beirut, had met with Mayor
Latrobe to advise him that a “statue of Baal” from Gaza could be obtained for
one of Baltimore’s parks for a low price. Hay claimed to have already been
offered the statue for $50. The mayor indicated that the city would not be
interested in the statue due to the high cost of delivering it. Instead he
suggested the Smithsonian might be, since the government could transport it
cheaply on a “returning war vessel.”</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn8">8</a></span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">There is so much confusion about the find that even
the identification of the site is unclear. In 1882 Conder identified it
matter-of-factly as Tell el-Ajjul, now known to be an important Bronze Age
site, about 7 kilometers (4 miles) southwest of Gaza. Scholarship on the statue
has nearly universally claimed its provenance as Ajjul, almost always citing
Conder – probably because Conder’s article was widely circulated when reprinted
in the Survey of Western Palestine Memoirs the following year.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn9">9</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
But we should remember that there are four independent accounts from 1879: the <i style="mso-bidi-font-style: normal;">Commercial Advertiser</i> report; a brief
letter in the 1880 <i style="mso-bidi-font-style: normal;">Palestine Exploration
Fund Quarterly Statement</i> from Dr. Thomas J. Chaplin (director of the
British Hospital for the Jews in Jerusalem, in service of the London Society
for Promoting Christianity amongst the Jews); Guthe’s edited article; and
Joseph Reinach’s piece. Reinach is the only one to name the site where the
statue was found, and he names it as “Tell-el-Ajoul”. But it is not clear
whether Conder’s source is independent of Reinach; Conder was writing over two
years after the statue was found, and was not in Palestine at the time of the
discovery. And Ajjul does not fit the locational information given in
independent accounts: they generally agree that the site was an hour and a half
from Gaza and near the seacoast, and Guthe’s report adds it was just south of
Wadi Gaza (Nahal Besor). Ajjul is closer to Gaza, on the north of the wadi
(that is, a seasonal river or stream), and over a mile from the coast. In fact,
there seems to have been widespread confusion about the exact location of
Ajjul, at least until the Palestine Exploration Fund published the Survey of
Western Palestine Memoirs and map in the early 1880s.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn10">10</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4q1KSTAjK7no10pNbXbiym_Gqccj3laaanYJtSVSg1b7K7p7se9jS5uwc15yePXDPYdReXbOGuBMysYlTl2jmYCFmxEOoaecMOD3e2qYKeT39_-GUgU6El0tyE7jT36A8wAwhQIx6RBE/s800/SWP+sheet+19+Nujeid+Ajjul+detail.tiff" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4q1KSTAjK7no10pNbXbiym_Gqccj3laaanYJtSVSg1b7K7p7se9jS5uwc15yePXDPYdReXbOGuBMysYlTl2jmYCFmxEOoaecMOD3e2qYKeT39_-GUgU6El0tyE7jT36A8wAwhQIx6RBE/s320/SWP+sheet+19+Nujeid+Ajjul+detail.tiff" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4q1KSTAjK7no10pNbXbiym_Gqccj3laaanYJtSVSg1b7K7p7se9jS5uwc15yePXDPYdReXbOGuBMysYlTl2jmYCFmxEOoaecMOD3e2qYKeT39_-GUgU6El0tyE7jT36A8wAwhQIx6RBE/s800/SWP+sheet+19+Nujeid+Ajjul+detail.tiff" target="_blank"><span style="font-family: "arial" , "helvetica" , sans-serif;">Survey of Western Palestine map, 1880 (click to enlarge)</span></a></td></tr>
</tbody></table>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_u2c8dgfhG869N5X9Gr2sHDAAbxEH_PSGMiJ7Scyk2QlUHk_m8JGTCHPm8QXwDl9Hpo1Q30LE0mzv8SZavx-2FyFO_WOpriHCXtVUP6Jb1NkUyOj_unsRxmfhtrS51amBSw1VLcKf_3U/s800/Musil+map+Aggul+Nked.tiff" target="_blank"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_u2c8dgfhG869N5X9Gr2sHDAAbxEH_PSGMiJ7Scyk2QlUHk_m8JGTCHPm8QXwDl9Hpo1Q30LE0mzv8SZavx-2FyFO_WOpriHCXtVUP6Jb1NkUyOj_unsRxmfhtrS51amBSw1VLcKf_3U/s320/Musil+map+Aggul+Nked.tiff" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_u2c8dgfhG869N5X9Gr2sHDAAbxEH_PSGMiJ7Scyk2QlUHk_m8JGTCHPm8QXwDl9Hpo1Q30LE0mzv8SZavx-2FyFO_WOpriHCXtVUP6Jb1NkUyOj_unsRxmfhtrS51amBSw1VLcKf_3U/s800/Musil+map+Aggul+Nked.tiff" target="_blank"><span style="font-family: "arial" , "helvetica" , sans-serif;">Musil's map (Karte von Arabia Petraea), 190<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">7</span></span></span></a></td></tr>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Meanwhile, in 1886 German-American engineer Gottlieb
Schumacher made an excursion on behalf of the Palestine Exploration Fund to the
Gaza region, where he was told by several people that the statue had in fact
been found at a different site, a mile to the west of Ajjul and on the south
side of Wadi Gaza, which they called Tell en</span> <span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Keiz (the same as the Survey of
Western Palestine’s Tell Nujeid).</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn11">11</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
Twenty years later, Alois Musil visited the site, which he called Tell en-</span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Nḳêd (Tell en-Nuqeid), noting that it
had been used as a quarry and that a statue had been found there.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn12">12</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"><span style="mso-spacerun: yes;"> </span>This site fits the locational information
(distance from Gaza, south of Wadi Gaza, close to the </span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">seashore). Schumacher
also noted trenches on the top of the site, which would fit quarrying activity,
while Ajjul showed no </span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">such signs. Finally, by the time the British Survey of
Palestine surveyed the area </span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">during the 1920s, the site was known as Tell eṣ-Ṣanam
– ṣanam being Arabic for “idol”.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn13">13</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
In other words, at some point after the Zeus statue was discovered, the local
residents started calling the site “the mound of the idol”.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn14">14</a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span>
</div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXYrTCJDFSwvfWCkSfzXbj_0BVVInDCGm6rZlcLZtHxXkPBXcg4kBYs6ubOPG4yMmfidthrvJACq7FKknjyMtiWplD8C1UuEamIO-nBRQsrdQ1bOnmqzRE0AUOcRuE9X6aVzr8DgIoCbA/s400/Survey+of+Palestine+Sheet+9-9+Wadi+Ghazza+Ujul+Sanam.tiff" target="_blank"><img border="0" height="103" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXYrTCJDFSwvfWCkSfzXbj_0BVVInDCGm6rZlcLZtHxXkPBXcg4kBYs6ubOPG4yMmfidthrvJACq7FKknjyMtiWplD8C1UuEamIO-nBRQsrdQ1bOnmqzRE0AUOcRuE9X6aVzr8DgIoCbA/s400/Survey+of+Palestine+Sheet+9-9+Wadi+Ghazza+Ujul+Sanam.tiff" width="550" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXYrTCJDFSwvfWCkSfzXbj_0BVVInDCGm6rZlcLZtHxXkPBXcg4kBYs6ubOPG4yMmfidthrvJACq7FKknjyMtiWplD8C1UuEamIO-nBRQsrdQ1bOnmqzRE0AUOcRuE9X6aVzr8DgIoCbA/s1000/Survey+of+Palestine+Sheet+9-9+Wadi+Ghazza+Ujul+Sanam.tiff" target="_blank"><span style="font-family: "arial" , "helvetica" , sans-serif;">Survey of Palestine map, 1931 (click to enlarge)</span></a></td></tr>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;"><span id="goog_783137460"></span><span id="goog_783137461"></span><br /></span></div>
<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"> </span></i><br />
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<i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Pivotal
moments and scholarly myths</span></i></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">The traditional narrative in the archaeology of
Israel/Palestine is that neither the imperial Ottoman authorities nor local
residents were much interested in antiquities.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn15">15</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
Pride of place is given to the British Mandate for organizing the Department of
Antiquities, enacting antiquities laws, and for establishing a national museum.
But this is a scholarly myth. We find that the people of Palestine were often
very interested in the past of their land and its material remains.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn16">16</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
The Ottoman administration, meanwhile, enacted a series of antiquities laws
starting in 1869.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn17">17</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"> They
founded the Imperial Museum in Constantinople, and later set up a museum in
Palestine as well.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn18">18</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
Conder’s visit to the Imperial Museum coincides with the beginning of the
tenure of Osman Hamdi Bey, its first Turkish director. He paints a picture of
chaos to which Hamdi succeeded: no museum catalogue; lack of provenance or
other basic information in many cases; statue fragments organized by body part.
We as readers might be tempted to see this as an Orientalist characterization,
but Conder’s presentation clearly favors the Turkish Hamdi at the expense of
his German predecessor. Hamdi is shown as concerned with compliance with
antiquities law and ensuring that finds in provinces like Palestine were
brought to the museum in Constantinople. “I had great satisfaction,” Conder
says, “in explaining to him that the Society by which I was sent out [the
Palestine Exploration Fund] had never transgressed in this respect since the
regulations were first promulgated in 1874” – though he says nothing about
following the earlier law of 1869. In fact, privately the Palestine Exploration
Fund expressed a very different reality. As its secretary Walter Besant wrote
to the British consul in Jerusalem around 1874, “we have broken the law for six
years at least, and we shall go on breaking it, until we are stopped, with
every coin we bring away from the place.”</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn19">19</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
Perhaps the narrative of Ottoman indifference to antiquities was a way for
Western scholars and institutions to justify their ignoring Ottoman
regulations.</span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2A2cL7GEkE1eA0VaqPvuo4tqJe8vgTtZo4sn_LsmmTQPZvXUthH4mzQRfUYGLHo5gFYxwFKFZVN8EMsyG7tM7FXomC1Lhu7wi_P8kQ-kFrEfzNvv5kMnEPJBMxVHzWzNSRWKqbG2FkQk/s1600/Reinach+Repertoire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2A2cL7GEkE1eA0VaqPvuo4tqJe8vgTtZo4sn_LsmmTQPZvXUthH4mzQRfUYGLHo5gFYxwFKFZVN8EMsyG7tM7FXomC1Lhu7wi_P8kQ-kFrEfzNvv5kMnEPJBMxVHzWzNSRWKqbG2FkQk/s640/Reinach+Repertoire.jpg" width="529" /></a></div>
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<span style="font-size: small;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Examples of the "seated Zeus" statue type, </span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: small;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">allowing a reconstruction of the complete Gaza Zeus </span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: small;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">(Salomon Reinach, <i>R</i></span><i><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">é</span><span style="font-family: "arial"; letter-spacing: 0pt;"></span></i><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"><i>pertoire de la statuaire grecque et romaine, Tome 2 vol. 1</i>, 1897)</span></span><br />
<span style="color: black; font-family: "arial"; letter-spacing: 0pt;"><span style="font-size: small;"></span></span></div>
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<span style="font-size: small;"><span style="color: black; font-family: "arial"; letter-spacing: 0pt;"></span></span></div>
<br />
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;"><br /></span></div>
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<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">While at the museum, Conder looked for material from
the Levant that he knew. He sketched the Gaza Zeus “from the original on the
porch of the museum.” But otherwise Conder only recognized the Luwian
hieroglyphic inscriptions known as the “Hamath stones.” His impression is
confirmed by the summary catalogue of the Imperial Museum’s collection
published that same year by Salomon Reinach (Joseph’s brother), soon to become
a prominent classical archaeologist.</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn20">20</a></span><span style="color: black; font-family: "arial"; letter-spacing: 0pt;">
The few other Levantine objects – at least of those objects for which provenance
was known – are all from Syria and Lebanon: a statue from Baalbek, a bust from
Palmyra, two lead sarcophagus fragments from Homs, a Phoenician sarcophagus
from brought from “Syria.” Most artifacts are from Anatolia (Turkey), northern
Africa, or Cyprus. Conder refers to the absence of the boundary stones of
Gezer, seized in 1874 by the governor of Jerusalem, but unknown to Hamdi Bey.
Hamdi <i style="mso-bidi-font-style: normal;">was</i> interested in the famous
Siloam Inscription, found about the same time as the Gaza statue, but it would
not reach the Imperial Museum for several more years. It seems that the Gaza
Zeus may have been the first object from Palestine to become part of the
Imperial Museum collection. Conder’s article provides a brief but fascinating
glance at the Imperial Museum at exactly this time – a pivotal moment both for
Palestinian antiquities entering the museum and for its stewardship under Hamdi
Bey.</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; letter-spacing: 0pt;">Or was it? Ottoman historian Edhem Eldem has pointed
out how, even among scholars aware of and specializing in Ottoman interest in
antiquities, there has been an exaggerated focus on Osman Hamdi Bey. This cult
of personality has had a distorting effect: scholars fail to acknowledge the
gradually increasing Ottoman interest in antiquities over the course of the
nineteenth century. They routinely miss the 1869 antiquities law, claiming the
1874 regulation to be the first. These trends in scholarship can be traced in
this very report from Conder about the Imperial Museum. Here, as in so many
other ways, Claude Conder was a true pioneer in the field.</span></div>
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<div style="mso-element: endnote-list;">
<br clear="all" />
<hr align="left" size="1" width="33%" />
<div id="edn1" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref1">1 </a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Rob Morris, “The Stone Idol of Gaza,” <i style="mso-bidi-font-style: normal;">Chicago Tribune</i>, August 26, 1880, p.7; “Sciences, Litt</span><span class="shorttext"><span lang="FR" style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">érature</span></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">, Beaux-Arts,”<i style="mso-bidi-font-style: normal;">
Journal officiel de la R</i></span><span class="shorttext"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">é</span></i></span><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">publique Fran</span></i><span class="shorttext"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">ç</span></i></span><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">aise </span></i><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">12 no. 328 (November 30, 1880): 11731.</span></div>
</div>
<div id="edn2" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref2">2</a></span><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: black; letter-spacing: 0pt;"><span style="mso-spacerun: yes;"> </span>From a column shared in several papers; the
earliest example I can find is in <i style="mso-bidi-font-style: normal;">The
Commonwealth</i> (Topeka, KS), November 8, 1879, p. 2. The petrified body of
Goliath is a reference to the Cardiff Giant and various copycat hoaxes. See
Mark Rose, </span></span><span style="font-family: "arial";"><a href="http://archive.archaeology.org/0511/etc/giants.html"><span style="font-size: 10.0pt; letter-spacing: 0pt;">“When Giants Roamed the Earth,”</span></a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> <i style="mso-bidi-font-style: normal;">Archaeology</i> 58
no. 6 (November/December 2005).</span><span style="font-family: "arial";"></span></div>
</div>
<div id="edn3" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref3">3</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Claude Conder, “Notes from Constantinople,” <i style="mso-bidi-font-style: normal;">Palestine Exploration Fund Quarterly
Statement</i> 1882: 147-149.</span></div>
</div>
<div id="edn4" style="mso-element: endnote;">
<div class="tweettextsize" style="margin-bottom: .0001pt; margin: 0in;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref4">4</a></span><span style="color: black; font-family: "arial"; mso-themecolor: text1;"> </span><span lang="EN" style="color: black; font-family: "arial"; mso-ansi-language: EN; mso-themecolor: text1;">Samuel M</span><span style="color: black; font-family: "arial"; mso-themecolor: text1;">ü</span><span lang="EN" style="color: black; font-family: "arial"; mso-ansi-language: EN; mso-themecolor: text1;">ller, “A Visit to Sharon and Philistia. Part
IV.—Gaza and Beit Jebrin” (trans. A.G. Weld), <i style="mso-bidi-font-style: normal;">Missionary Life</i> vol. 12 (1881): 440; </span><span style="color: black; font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">Louisa H.H. Tristram, “The Land of the Philistines, with a Sunday at
Gaza,” <i style="mso-bidi-font-style: normal;">The Church-Worker</i>, vol. 1
(1882): 4-5; William Berryman Ridges, <i style="mso-bidi-font-style: normal;">My
Ramble Through Bible Lands</i> (1886), p. 11.</span><span lang="EN" style="color: black; font-family: "arial"; mso-ansi-language: EN; mso-themecolor: text1;"></span></div>
</div>
<div id="edn5" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref5">5</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> “Gaza: New Work in an Old City,” <i style="mso-bidi-font-style: normal;">The Church Missionary Intelligencer and Record</i> n.s. vol. 4 (1879):
155-156.</span></div>
</div>
<div id="edn6" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref6">6</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Claude Conder, “The Present Condition of Palestine,” <i style="mso-bidi-font-style: normal;">Jewish Chronicle</i>, November 1, 1878, pp.
10-11. Reprinted in <i style="mso-bidi-font-style: normal;">Palestine Exploration
Fund Quarterly Statement</i> 1879: 9. (But Conder graciously adds that “they
have qualities which would, if developed, render them a useful population.”)</span></div>
</div>
<div id="edn7" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref7">7</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Letter of December 17, 1879 from Gaza, in <i style="mso-bidi-font-style: normal;">Revue politique et littéraire</i>, 2nd
series, 9 no. 28 (January 10 1880): 667-668. Reprinted in <i style="mso-bidi-font-style: normal;">Revue archéologique</i> n.s. 21 no. 39 (1880): 57-58; English summary
in “Antiquarian News,” <i style="mso-bidi-font-style: normal;">The Antiquary</i>
vol. 1 (January-June 1880): 89-90.</span><span style="font-family: "arial";"></span></div>
</div>
<div id="edn8" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref8">8</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> “Statue of Baal for Baltimore,” <i style="mso-bidi-font-style: normal;">Baltimore Sun</i>, April 5,1881, p. 1; “The Statue of Baal for Sale,” <i style="mso-bidi-font-style: normal;">Washington Post</i>, April 7, 1881 (from the
<i style="mso-bidi-font-style: normal;">Baltimore American</i>).</span></div>
</div>
<div id="edn9" style="mso-element: endnote;">
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref9">9</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Among many others, </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">George Adam Smith, <i style="mso-bidi-font-style: normal;">The Historical Geography of the Holy Land</i>
(1894), p. 188; Charles Clermont-Ganneau, “Sur quelques localit</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">és de
Palestine mentionnées dans la vie de Pierre l’Ibère,” in <i style="mso-bidi-font-style: normal;">Etudes </i></span><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">d’archéologie orientale</span></i><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">,
vol. 2, by C. Clermont-Ganneau (1897), p. 13;</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Martin A. Meyer, <i style="mso-bidi-font-style: normal;">History of the City of Gaza</i> (1907), p. 152; Arthur Bernard Cook, <i style="mso-bidi-font-style: normal;">Zeus: A Study in Ancient Religion</i>, <i style="mso-bidi-font-style: normal;">vol. 3 pt. 1. </i>(1940), p. 557 (following
Reinach); Nelson Glueck, <i style="mso-bidi-font-style: normal;">Deities and
Dolphins</i> (1965), p. 498; Carol A.M. Glucker, <i style="mso-bidi-font-style: normal;">The City of Gaza in the Roman and Byzantine Periods</i> (1987), p. 67;
Asher Ovadiah and Sonia Mucznik, “The Zeus from Gaza Re-examined”, </span><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Archivo Español de
Arqueología</span></i><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> 70 (1997): 5.</span></div>
</div>
<div id="edn10" style="mso-element: endnote;">
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref10">10</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Victor Gu</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">é</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">rin (<i style="mso-bidi-font-style: normal;">Description g</i></span><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">éographique,
historique et archéologique de la Palestine. Judée</span></i><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> <i style="mso-bidi-font-style: normal;">vol. 2</i>, 1869,</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> p. 213) notes that some
maps showed Ajjul south of Wadi Gaza, singling out C.W.M. Van de Velde’s Map of
the Holy Land, 1:315,000, Gotha: Justus Perthes (1865). See also Van de Velde, <i style="mso-bidi-font-style: normal;">Memoir to Accompany the Map of the Holy Land</i>
(1858), p. 53, where he notes “Tell el-’Aj</span><span style="font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">û</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">r [sic], 1 ½ hours S.W. of Gaza, at
the entrance and S. of Wady Ghŭzzeh,” among the sites mentioned to him by the
Bedouin (in other words, which he did not personally visit)</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">. Note the time, position south of the wadi, and position
along the coast all match Tell Nuqeid. Charles Warren (“The Plain of
Philistia,” <i style="mso-bidi-font-style: normal;">Palestine Exploration Fund
Quarterly Statement</i> 1871: 86) describes “Tel Ajur” [sic] as on the coast,
at the mouth of Wadi Gaza; immediately above this, he also noted that he found
van de Velde’s map “hopelessly in error” for the Gaza region, but “found little
chance of correcting it.” </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Other than Gu</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">é</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">rin, the only source I
have found that appears to place Ajjul correctly before the publication of the
Survey of Western Palestine Memoirs is Baedeker, ed., </span><i style="mso-bidi-font-style: normal;"><span style="font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Palaestina und Syrien: Handbuch für Reisende</span></i><span style="font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> (1875), p. 329
(Eng translation 1876 p. 315): “<i style="mso-bidi-font-style: normal;">Tell
el-‘Adjûl</i> [<i style="mso-bidi-font-style: normal;">‘Ajûl</i> in English
transliteration] 1 hr 5 min from Gaza.” As late as 1887, the Franciscan</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> priest Li</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">é</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">vin de
Hamme (Edouard Colleman) placed it two minutes south of Wadi Gaza and about 1 ½
hours from Gaza in his detailed and valuable travel guide: </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Li</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">é</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">vin de Hamme, <i style="mso-bidi-font-style: normal;">Guide-indicateur des sanctuaires et lieux
historiques de la Terre-Sante</i> (3rd rev. ed.; 1887), pp. 205-206.</span></div>
</div>
<div id="edn11" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref11">11</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Gottlieb Schumacher, “Researches in Southern Palestine,” <i style="mso-bidi-font-style: normal;">Palestine Exploration Fund Quarterly
Statement</i> 1886: 177; Map of Western Palestine, 1:63,360, Sheet XIX (London,
1880); Claude R. Conder and Horatio H. Kitchener, <i style="mso-bidi-font-style: normal;">The Survey of Western Palestine: Memoirs of the Topography, Orography,
Hydrography, and Archaeology, vol. III. Sheets XVII-XXVI, Judaea</i> (1883), p.
254.</span></div>
</div>
<div id="edn12" style="mso-element: endnote;">
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref12">12</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Alois Musil, </span><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Arabia Petraea</span></i><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">. <i style="mso-bidi-font-style: normal;">II. Edom. Topographischer Reisebericht, pt. 2</i> (1908), p. 53; also</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Musil’s map: </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Kaiserliche Akademie der
Wissenschaften, Karte von Arabia Petraea, 1:300,000, 1907. To explain part of
the variety of pronunciations of the site’s name, Conder (<i style="mso-bidi-font-style: normal;">Tent Work in Palestine; A Record of Discovery and Adventure</i>, vol.
2, 1879, pp. 213-214) reported that, among the Bedouin, qof was pronounced as
“jof”. See also Rafael</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Talmon </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">“19th Century Palestinian
Arabic: The Testimony of Western Travellers,” <i style="mso-bidi-font-style: normal;">Jerusalem Studies in Arabic and Islam</i> 29 (2004)</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">: 216.</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"></span></div>
</div>
<div id="edn13" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref13">13</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Survey of Palestine, 1:20,000, Series Topocadastral, Sheet
9-9 W</span><span class="st"><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">ā</span></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">di Ghazza (Jaffa,
1931). See also Schedule of Historical Monuments and Sites, <i style="mso-bidi-font-style: normal;">Palestine Gazette Extraordinary</i> 1375,
Supplement no. 2 (November 24, 1944), p. 1311.</span></div>
</div>
<div id="edn14" style="mso-element: endnote;">
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref14">14</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> As far as I know, the meaning of the site’s name and its
connection to the discovery of the statue have been highlighted only by
Felix-Marie Abel, </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">“Les confins de la Palestine et de l’Egypte
sous les Ptolémées,” <i style="mso-bidi-font-style: normal;">Revue Biblique</i>
49 (1940): 69.</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Other than Abel, scholars
who have identified Tell en-Nuqeid/Tell eṣ-Ṣanam as the findspot of the statue
include (Musil); Louis-Hugues Vincent, “La Palestine dans les papyrus ptol</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">é</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">maiques de Gerza,” <i style="mso-bidi-font-style: normal;">Revue
Biblique</i> 29 (1920): 175; </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">W.M.F. Petrie, <i style="mso-bidi-font-style: normal;">Ancient
Gaza</i> vol. 1 (1931), p. 2; </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Antoine Duprez, <i style="mso-bidi-font-style: normal;">Jésus et les dieux guérisseurs: à propos de Jean</i>, vols. 8-12 (1970),
p. 78.</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"></span></div>
</div>
<div id="edn15" style="mso-element: endnote;">
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref15">15</a></span><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: black; letter-spacing: 0pt;"> As an example, Neil Asher Silberman, <i style="mso-bidi-font-style: normal;">Digging for God and Country</i> (1982),
154-155. Many sources present Ottoman authorities only as an occasional
nuisance to the brave explorers and excavators, or ignore them entirely.</span></span></div>
</div>
<div id="edn16" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref16">16</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> See, for example, Louis Fishman, <a href="http://www.academia.edu/8458321/The_1911_Haram_al-Sharif_Incident_Palestinian_Notables_Versus_the_Ottoman_Administration">“The
1911 Haram al-Sharif Incident: Palestinian Notables versus the Ottoman
Administration,”</a> <i style="mso-bidi-font-style: normal;">Journal of Palestine
Studies</i> 34 no. 3 (Spring 2005): 6-22. </span></div>
</div>
<div id="edn17" style="mso-element: endnote;">
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref17">17</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> The texts of the 1869 and 1874 antiquities laws were
published by Grégoire Aristarchi (Bey), <i style="mso-bidi-font-style: normal;">Législation</i></span><i style="mso-bidi-font-style: normal;"><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> ottomane, pt. 3. Droit administratif</span></i><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">
(1874), pp. 161-167. For a </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">useful summary of
Ottoman antiquities laws of 1869, 1874, 1884, and 1906 (last in effect in
Turkey until 1973):</span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Sibel Özel, <a href="http://scholarship.law.cornell.edu/cgi/viewcontent.cgi?article=1215&context=ijli">“<span style="mso-font-kerning: 0pt;">Under the Turkish Blanket Legislation: The
Recovery of Cultural Property Removed from Turkey,”</span></a><span style="mso-font-kerning: 0pt;"> <i style="mso-bidi-font-style: normal;">International
Journal of Legal Information</i> 38 no. 2 (Summer 2010): Article 10, pp.
178-179.</span></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"></span></div>
</div>
<div id="edn18" style="mso-element: endnote;">
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref18">18</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> See, for example,</span><span style="font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> </span><span style="font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Wendy Shaw, <i style="mso-bidi-font-style: normal;">Possessors and Possessed: Museums, Archaeology, and the Visualization
of History in the Late Ottoman Empire</i> (2003); Edhem Eldem, <a href="https://www.academia.edu/7824240/From_Blissful_Indifference_to_Anguished_Concern_Ottoman_Perceptions_of_Antiquities_1799-1869">“From
Blissful Indifference to Anguished Concern: Ottoman Perceptions of Antiquities,
1799-1869,”</a> in <i style="mso-bidi-font-style: normal;">Scramble for the Past:
A Story of Archaeology in the Ottoman Empire, 1753-1914</i> (ed. Z. </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Bahrani,
Z. </span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Ç<span style="mso-font-kerning: 18.0pt;">elik, and</span></span><span style="font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> E. Eldem; 2011), pp. 281-329; </span><span style="font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">Beatrice St. Laurent
with Himmet Taşkömür, <a href="http://www.palestine-studies.org/sites/default/files/jq-articles/JQ%2055_The%20Imperial.pdf">“The
Imperial Museum of Antiquities in Jerusalem, 1890-1930: An Alternate
Narrative,”</a> <i style="mso-bidi-font-style: normal;">Jerusalem Quarterly</i>
55 (2013): 6-45.</span><span style="font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"></span></div>
</div>
<div id="edn19" style="mso-element: endnote;">
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref19">19</a></span><span style="font-family: "arial"; font-size: 10.0pt;"><span style="color: black; letter-spacing: 0pt;"><span style="mso-spacerun: yes;"></span> Letter from Walter Besant to Noel Temple
Moore, copying Charles Clermont-Ganneau, c. 1874 (Institut de France, Fonds
Clermont-Ganneau); quoted in Naomi Shepherd, <i style="mso-bidi-font-style: normal;">The Zealous Intruders</i> (1987), p. 219.</span></span></div>
</div>
<div id="edn20" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref20">20</a></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> Salomon Reinach, <i style="mso-bidi-font-style: normal;">Catalogue
du Mus</i></span><span class="shorttext"><i style="mso-bidi-font-style: normal;"><span lang="FR" style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;">ée
Impérial d’Antiquités</span></i></span><span style="color: black; font-family: "arial"; font-size: 10.0pt; letter-spacing: 0pt;"> (1882).</span></div>
</div>
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}p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: "Times New Roman"; color: rgb(56, 55, 55); letter-spacing: -2pt; }span.MsoEndnoteReference { vertical-align: super; }p.MsoEndnoteText, li.MsoEndnoteText, div.MsoEndnoteText { margin: 0in 0in 0.0001pt; font-size: 12pt; font-family: "Times New Roman"; color: rgb(56, 55, 55); letter-spacing: -2pt; }a:link, span.MsoHyperlink { color: blue; text-decoration: underline; }a:visited, span.MsoHyperlinkFollowed { color: purple; text-decoration: underline; }p.tweettextsize, li.tweettextsize, div.tweettextsize { margin-right: 0in; margin-left: 0in; font-size: 10pt; font-family: Times; }span.shorttext { }span.st { }span.EndnoteTextChar { }.MsoChpDefault { color: rgb(56, 55, 55); letter-spacing: -2pt; }div.WordSection1 { }</style>Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com1tag:blogger.com,1999:blog-8753420987763205111.post-35009851873317874882016-06-13T23:13:00.000-05:002016-06-13T23:13:56.009-05:00Scotsman Sings the Blues (The Authenticity of Lonnie Donegan)<div class="MsoNormal">
<span style="font-family: "arial";">You take CBS and NBC and
them kind of people. They have hours and hours of putting Tyrone Power and
Ingrid Bergman to portraying some French story that happened years ago, while
right here they have John Henry, Stack O’Lee, Casey Jones, and all them kings
of fabulous stories that American kids know nothing about. So they spend
millions of dollars for all that other kind of foolishness.<o:p></o:p></span></div>
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<!--StartFragment-->
<span style="font-family: "arial"; letter-spacing: 0pt;">-- Danny Barker (quoted in Shapiro and Hentoff, <i><a href="https://books.google.com/books?id=FI-51pO2QykC&pg=PA35#v=onepage&q&f=false" target="_blank">Hear Me Talkin’ To Ya</a></i>, 1955)</span><!--EndFragment-->
<br />
<span style="font-family: "arial"; letter-spacing: 0pt;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTYueFE0Z__aUx7T2BFil6wOJkPztO0qU3G4Hok2IH0DtGvWD75pAUo8UP1YCKDLmu0HOcEMMkKuA7AvJDfdiKh7bXUQF7VNUoLTcVcWAKz7zo6as1RSxDvJKovdaDh190-RrVhJH-Xbk/s1600/Cumberland+Gap+and+Middlesboro.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTYueFE0Z__aUx7T2BFil6wOJkPztO0qU3G4Hok2IH0DtGvWD75pAUo8UP1YCKDLmu0HOcEMMkKuA7AvJDfdiKh7bXUQF7VNUoLTcVcWAKz7zo6as1RSxDvJKovdaDh190-RrVhJH-Xbk/s400/Cumberland+Gap+and+Middlesboro.jpg" width="400" /></a></div>
<br />
<div style="text-align: center;">
<span style="font-family: "arial";">The Cumberland Gap and Middlesboro, Kentucky</span></div>
<div style="text-align: center;">
<span style="font-family: "arial";">(photo taken October 2012)</span></div>
<span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;"><br /></span>
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<!--StartFragment--><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">Danny Barker was a legendary jazz guitarist. A
member of the Barbarin family, jazz royalty in New Orleans. Barker was one of
many musicians interviewed by Nat Shapiro and Nat Hentoff for their classic
oral history of jazz, <i>Hear Me Talkin’ To
Ya</i>, first published in June 1955. Toward the beginning of the book, Barker
strikes a sour note: as he saw it, too much attention was being paid by
American elite and media to European high art, and not enough to American folk
traditions: “But we’ve got our own cultural heritage here and we ignore it.” But
perhaps the picture was perhaps not as dire as Barker thought. When Barker
suggested that “[t]hey should give money so that people could go out West and
study and record cowboys and Western folklore,” he was probably unaware that,
already in 1910, John Lomax had published the pioneering <i><a href="https://books.google.co.il/books?id=8TkQAAAAYAAJ&printsec=frontcover#v=onepage&q&f=false" target="_blank">Cowboy Songs and Other Ballads</a></i></span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">, spurring interest in this material that
culminated in his and his son Alan’s work for the <a href="https://www.loc.gov/item/2016655238/" target="_blank">Archive of American Folk Song</a>
at the Library of Congress</span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">. </span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">And Barker couldn’t have foreseen that, four
years after his interview was published, fellow New Orleanian Lloyd Price would
reach #1 on the pop chart with the song “Stagger Lee,” which helped introduce many
American kids to that fabulous story (like my mother – it was the first record
she ever bought). And above all Barker could never have imagined that, just
five months after the book came out, Decca Records would release Lonnie
Donegan’s recording of the folk song “Rock Island Line”, with “John Henry” on
the B-side. The single would not only become a huge pop hit, but start off a
national craze, inspiring a generation of teenagers to buy guitars and start their
own bands. For how could Barker have know that that nation would be the UK –
and that Donegan would be British.</span><!--EndFragment--><br />
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<!--StartFragment--><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">It’s impossible for me to give an accurate
impression of the importance that Donegan and “Rock Island Line” had for
British music in these paragraphs. “Rock Island Line” did much more than
establish Donegan as one of the biggest stars in British popular music for the
next five years. It started a new musical movement throughout the country featuring
this style of revamped American folk music, called skiffle. <a href="http://www.theguardian.com/music/2004/jun/21/popandrock" target="_blank">Billy Bragg has written</a> </span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">of the twin impact of Donegan and Elvis Presley,
each making their influential debut recordings within eight days of each other
in July 1954. </span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">And indeed they were the two towering figures of
popular music in the UK in 1956-1957. Over the next year to eighteen months after
“Rock Island Line” entered the charts in January 1956, guitar sales soared and amateur
skiffle groups formed all over the country. Chas McDevitt, a leader of a successful
skiffle group of the time, talks of an unsourced estimate of 30 to 50 thousand
such groups in the British Isles at one point in 1957 (in his 1997 book </span><i style="color: windowtext; font-family: Arial; font-size: 12pt; letter-spacing: 0pt;"><a href="https://books.google.com/books?id=HUo5AQAAIAAJ&focus=searchwithinvolume&q=30%2C000" target="_blank">Skiffle: The Definitive Inside Story</a></i><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">). </span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">Among this youth movement were John Lennon, Paul
McCartney, and George Harrison, all inspired to start playing guitar in part <a href="http://www.triumphpc.com/mersey-beat/beatles/lonniedonegan-beatles.shtml" target="_blank">by seeing or hearing Donegan</a>. </span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">Lennon went further, forming his own skiffle
band, the Quarry Men. A partial recording of one performance by his band
survives, from July 6, 1957. Only parts of two songs are preserved –
appropriately they are Donegan’s then current #1 UK hit “Puttin’ on the Style”
and Elvis’s Sun single “Baby Let’s Play House”. As it happens, this was the
same day that Lennon met a (just-turned) 15-year-old McCartney.</span><!--EndFragment--><br />
<span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;"><br /></span>
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<!--StartFragment--><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">But looking back from an era in which so much
emphasis is placed on authenticity, or at least the appearance of authenticity,
it can be jarring to see how <i>inauthentic</i>
Donegan seems. For one thing there was his name: Donegan was actually born
Anthony James Donegan; “Lonnie” came from the New Orleans guitarist Lonnie
Johnson. As Donegan was fond of saying, he and Johnson appeared in a concert together in London in 1952, the announcer mixed up the two, and
Donegan adopted the mistaken name Lonnie Donegan as his own . . . Except that the story too <a href="https://books.google.com/books?id=mvetAwAAQBAJ&pg=PT59#v=onepage&q&f=false" target="_blank">may be invented</a>. </span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">Then there is his affected American accent. It
can be very jarring to hear him <a href="https://www.youtube.com/watch?v=wI4nRD-DRpk" target="_blank">in a live performance</a>, prefacing “Rock Island
Line” with an English accent, and then switching accents for the song’s spoken
word intro. </span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">Or hearing an odd Irish-sounding “eyes” when he
sings about being “Alabammy Bound”.</span><br />
<span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8QfJxPuHdmjtH0O_mlh6cdmJlhX5MIaRE3DRe6Q18GYNZCaFHw_oc74rKs1AURs35JT_RFsYTUgZqG30wC0WZzNrxnNyInkYbyPg_iDpGg9v9_vaJIHqz_UrtcdNu59J1m5zEzl5-SJg/s1600/Casey+Jones+home.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8QfJxPuHdmjtH0O_mlh6cdmJlhX5MIaRE3DRe6Q18GYNZCaFHw_oc74rKs1AURs35JT_RFsYTUgZqG30wC0WZzNrxnNyInkYbyPg_iDpGg9v9_vaJIHqz_UrtcdNu59J1m5zEzl5-SJg/s400/Casey+Jones+home.jpg" width="400" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUs3x9_BTaH0YmCoVRn8ZEbzWMW8RsHPe1cCXeFmbl4nEtIfrh_DrWwdaGidxH5ScOeGT46oEXeyWEZoSHLEVjDh4_GaKhIMXPJtWkNDuX-6dwJAPCqaBrMxV5RxyUuJa7ZxhLslreRqM/s1600/Rock+Island+photo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUs3x9_BTaH0YmCoVRn8ZEbzWMW8RsHPe1cCXeFmbl4nEtIfrh_DrWwdaGidxH5ScOeGT46oEXeyWEZoSHLEVjDh4_GaKhIMXPJtWkNDuX-6dwJAPCqaBrMxV5RxyUuJa7ZxhLslreRqM/s400/Rock+Island+photo.jpg" width="400" /></a></div>
<br />
<div style="text-align: center;">
<span style="font-family: "arial";">Home of John Luther "Casey" Jones</span></div>
<div style="text-align: center;">
<span style="font-family: "arial";">Casey Jones Village and Railroad Museum</span></div>
<div style="text-align: center;">
<span style="font-family: "arial";">Jackson, Tennessee</span></div>
<div style="text-align: center;">
<span style="font-family: "arial";">(photos taken October 2012)</span></div>
<br />
<br />
<span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;"><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">This brings us to Donegan’s songbook: the
landscape of the songs is thoroughly American. It includes tales of folk heroes
like Jesse James, Railroad Bill, and, yes, John Henry, Stackalee, and Casey
Jones. Donegan sings about so many places he has never been. We visit Monroe,
Lynchburg, and Danville, Virginia (“The Wreck of the Old ‘97”); Washington,
Maine, and Georgia (“Gamblin’ Man”); New Orleans (“Rock Island Line”); Houston
(“Midnight Special”); Middlesboro, Kentucky and the “Cumberland Gap”; the
Glendale train (“Jesse James”); Indiana and Birmingham (“Wabash Cannonball”);
and so much more of America. We even hear Donegan turn Leadbelly’s “way out in
California” into the odder “down in California” in “Stewball”.</span></span><br />
<div class="MsoNormal">
<div class="MsoNormal">
<span style="font-family: "arial";"><br /></span>
<span style="font-family: "arial";"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mnEXiU6r4oId6Tu_BGz7CCiuwx9qXgiFNpNCbfBLL-uNYgru5sd_st16vP8AHJy6mLsWaob1OfAha72VnOSULXg_0uF_1ldJAZ9GVlZoul9MB-1zCXqpSIojG3SYy7JaKGI0ZiZgg4o/s1600/Stag+Lee+Shelton+home.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8mnEXiU6r4oId6Tu_BGz7CCiuwx9qXgiFNpNCbfBLL-uNYgru5sd_st16vP8AHJy6mLsWaob1OfAha72VnOSULXg_0uF_1ldJAZ9GVlZoul9MB-1zCXqpSIojG3SYy7JaKGI0ZiZgg4o/s400/Stag+Lee+Shelton+home.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: "arial";">Home of "Stag" Lee Shelton, St. Louis</span></div>
<div style="text-align: center;">
<span style="font-family: "arial";">(photo taken January 2011)</span></div>
<span style="font-family: "arial";"><br /></span>
<span style="font-family: "arial";">Well, there’s some say he’s from England,<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">And there’s some say he’s from France;<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">We all know he’s nothing but a Louisiana man</span><br />
<span style="font-family: "arial";">-- Lonnie Donegan, “John Henry”</span></div>
<span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;"><br /></span>
<span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">American folk songs are suffused with place. So
it is striking that Donegan adopted them as opposed to folk songs from his
homeland. After all, the British Isles were a rich vein to be mined for folk
songs that could be sped-up and energized, as bands like the Pogues would later
show. And it is striking that his British audience embraced them – especially
since the concreteness of place marks a real contrast with the American rock ‘n’
roll that British teenagers would embrace on the heels of skiffle. Early rock ‘n’
roll songs barely mention place names – perhaps aiming for mass appeal by being
generic and therefore universal. Places are so often fictional, figurative,
non-specific: Blueberry Hill, the Valley of Tears, Heartbreak Hotel down at the
end of Lonely Street. The main exception I can think of is the work of Chuck
Berry: “Sweet Little Sixteen” and “Back in the U.S.A.”, where he namechecks
several cities; “Memphis, Tennessee”; “Johnny B. Goode”, where he has the
titular hero born “deep down in Louisiana, close to New Orleans”. But even here
specific places are found only in a small minority of his songs, not nearly as
much as in folk.</span><!--EndFragment-->
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<!--StartFragment--><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">Perhaps the most remarkable example of Donegan
and his British public’s embrace of the American landscape is this 1957
performance of “Grand Coulee Dam”. In the clip, the crowd sits, captivated,
swaying and clapping to the band as Donegan sings Woody Guthrie’s lyrics about
a dam in Washington state. How many of them knew where the Grand Coulee Dam
was, or had even heard of it before? Of course, this was a performance by the
audience as much as Donegan: the video is not from a live concert but was
recorded for a film, <i>Six-Five Special</i>,
where the band appears to mime to the song and everyone appears coached on how
to act. But the single was a top ten UK hit, so it is clear that Donegan’s
performance resonated, improbably enough, with the British public.</span><!--EndFragment-->
<br />
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<!--StartFragment--><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">What did people like about Donegan? Interestingly,
the incongruity seems to have been part of his appeal, at least in the States. In
1957 Mercury Records (U.S.) and Quality (Canada) released an album by Donegan with
the pointed title <i>An Englishman Sings
American Folk Songs</i>. But in the liner notes, folk singer and writer Bernard
Asbell suggests Donegan’s apparent inauthenticity is irrelevant:</span><br />
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<blockquote class="tr_bq">
<span style="font-family: "arial";">Some listeners to Lonnie
Donegan strain their ears for faint suggestions of his British turn of
syllable, and enjoy its incongruency with earthy American song. It may be a source
of amusement, but these listeners miss the point. For the fact is that Lonnie
Donegan captures the innate honesty and feel of these plain people’s songs as
few American folk performers have done. He understands them and projects them.
The national “purists” might ask themselves: Why can’t a Britisher faithfully
sing an American folk song with the same credentials that an American balladeer
can sing <i>Greensleeves</i> or <i>Foggy, Foggy Dew</i> or any of the treasure
trove of Elizabethan love songs recently opened to the American ear by our
professional minstrels? The test is the performer’s respect for his song and
his worth as an entertainer. In these respects, Lonnie Donegan more than
satisfies. He delights.</span></blockquote>
<span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">Nationality, accent,
incongruity are surface trifles; Donegan expresses the true inner feeling of
the songs. Of course, this is just Mercury’s promotional material for the
album. What did Donegan’s listeners think of his music? In particular, why were
British listeners attracted to it?</span><br />
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<!--StartFragment--><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">For George Harrison, <a href="http://www.triumphpc.com/mersey-beat/beatles/lonniedonegan-beatles2.shtml" target="_blank">it was the ease of playing the music</a>: “</span><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">Lonnie and skiffle seemed made for me…it was easy
music to play if you knew two or three chords, and you’d have a tea-chest as
bass and washboard and you were on your way.” </span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">Or, <a href="https://books.google.com/books?id=WpsszVLFsMEC&pg=PA19&lpg=PA19#v=onepage&q&f=false" target="_blank">in Hunter Davies’s harsher words</a>: </span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">“For the first time, anyone could have a go, with no musical
knowledge or even musical talent. Even the guitar, the hardest instrument in a
skiffle group, could be played by anyone who mastered a few simple chords. The
other instruments, like a washboard, or tea-chest bass, could be played by any
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<!--StartFragment--><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">Unlike pop music of the day, the music was accessible
and welcoming to amateurs – much like punk twenty years later. Harrison and Paul
McCartney, among many others, also emphasized Donegan’s energy:</span><!--EndFragment-->
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<span style="font-family: "arial"; letter-spacing: 0pt;">Of course Lonnie Donegan was the major reason so many
of us loved this music for he was full of vitality.</span></div>
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<span style="font-family: "arial"; letter-spacing: 0pt;">-- Harrison, foreword to Chas McDevitt, <i>Skiffle: The Definitive Inside Story</i></span><!--EndFragment--></div>
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<span style="font-family: "arial"; letter-spacing: 0pt;">Well, there was a real primal energy to Lonnie’s
stuff back then.</span></div>
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<span style="font-family: "arial"; letter-spacing: 0pt;">-- McCartney, quoted in Patrick Humphries, </span><i><span style="font-family: "arial"; letter-spacing: 0pt;"><a href="https://books.google.co.il/books?id=mvetAwAAQBAJ&pg=PT142&#v=onepage&q&f=false" target="_blank">Lonnie Donegan and the Birth of British Rock & Roll</a></span></i><!--EndFragment--></div>
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<!--StartFragment--><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">In none of these comments is there any mention of Donegan's accent or the incongruity. Instead, we hear of </span><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">inner feeling, accessibility, energy, vitality –
Donegan had them all.</span><span style="color: windowtext; font-size: 12pt; letter-spacing: 0pt;"> . . </span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">And of course he had those songs, those fabulous
stories that Danny Barker loved so well.</span></div>
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<!--StartFragment--><!--EndFragment-->Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com1tag:blogger.com,1999:blog-8753420987763205111.post-56600506995153248632016-04-12T12:25:00.000-05:002016-05-24T18:10:16.342-05:00An Open Letter to Michael Coogan<div class="MsoNormal">
<span style="font-family: "arial";">Over four years ago, I
submitted two chapters to the Iron I volume of the “Final Reports of the Leon
Levy Expedition to Ashkelon” series. With the caterpillar creep of publication,
I just recently received the proofs for my submissions, along with legal forms
to transfer copyright of the chapters and a note from the Director of
Publications for the Harvard Semitic Museum (which is publishing the volume
with Eisenbrauns), Michael Coogan.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">In those four intervening years,
the Harvard Semitic Museum had stolen my co-authored contributions to <i style="mso-bidi-font-style: normal;">Ashkelon 5</i> (as I discussed <a href="http://textualcultures.blogspot.com/2016/02/eating-our-young.html" target="_blank">here</a>). So, when
I received the package from the Semitic Museum, I was impressed by the (for
lack of a better word) chutzpah of the Museum for writing to me after the theft
of my work as if nothing had happened. It was also strange to be addressed by
my first name, especially from an individual I did not know personally and had
only met once. And, above all, for Dr. Coogan to describe the Museum’s
obligations under federal copyright law in such a cavalier manner.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: "arial";">Don’t
be alarmed at the formality of the enclosed letters – it is essentially
boilerplate that the University Counsel has recommended that we request from
all authors and contributors to our publications.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">I felt it necessary to write
a letter to Dr. Coogan, cc’ing the Director of the Museum, Peter Der
Manuelian. I include a copy of that letter below:</span></div>
<div class="MsoNormal">
<span style="font-family: "arial";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Dear Dr. Coogan,<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">I am writing in response to
your letter of March 23. Please let me provide some background to my comments,
in case you are not aware: I was the co-author of Ashkelon 5, but the Semitic
Museum falsely claimed ownership of my work, published it after I had withdrawn
my permission, and knowingly passed much of my authored work off as Yaakov
Huster’s. All of this happened despite several assurances from Deputy Director
and Curator Joseph Greene that the volume would not be published while there
was an ownership dispute and that my work would be properly credited.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">It is good to see that the
Museum is now trying to obtain permission to publish work properly and to have
authors sign transfer of copyright agreements. But the Semitic Museum has been
publishing the final report series of the Leon Levy Expedition to Ashkelon for
a decade – why is it only now beginning to treat authors properly? U.S. copyright
law is very clear on this matter: <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="mso-fareast-font-family: "Times New Roman";">A transfer of copyright ownership, other than by operation
of law, is not valid unless an instrument of conveyance, or a note or
memorandum of the transfer, is in writing and signed by the owner of the rights
conveyed or such owner's duly authorized agent. (17 U.S. Code 204a)</span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">And yet, though I was never
asked to transfer copyright and signed no form, I have found that Harvard
claims to own the copyright of my contributions to Ashkelon 1 and 3 and to
Ashkelon 4, a work solely authored by me. In fact, it is my understanding
(based on conversations with Deputy Director Greene) that these current efforts
to obtain permission are being made only because of my unsuccessful attempts to
stop the theft of my intellectual property in Ashkelon 5.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">I am therefore especially
interested in your statement that the enclosed forms are “boilerplate that the
University Counsel has recommended” you request. Do you mean to suggest that
the Museum considers the requirements of U.S. copyright law to be “boilerplate”
that is merely “recommended” by its lawyers?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Given my own experiences and
the Museum’s unacceptable treatment of authors in general over the last decade,
I cannot possibly grant permission for my work to be published or transfer
ownership of copyright. As I retain the rights of ownership, I will consider
any further attempt by the Museum to publish my work to be infringement of my
copyright and violation of the law. Please be aware that, because from what I
have seen the Museum has not been committed to federal law, signed contracts,
or its other agreements on these matters in the past, I am posting a version of
this letter online so that there is public record of my denial of permission.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "arial";">Sincerely,<o:p></o:p></span></div>
<div class="MsoNormal">
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<span style="font-family: "arial";">Michael Press, Ph.D.<o:p></o:p></span></div>
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<span style="font-family: "arial";">* * * * *</span></div>
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<!--StartFragment--><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt;">My
experiences suggest that academics might not be very familiar with or even care
much about copyrights. Perhaps this is because most academic copyrights have so
little (monetary) value. Notably, many academics are openly hostile towards
copyright law. We are sympathetic toward attempts to undermine the power of
publishers’ copyrights and <a href="https://www.washingtonpost.com/local/this-student-put-50-million-stolen-research-articles-online-and-theyre-free/2016/03/30/7714ffb4-eaf7-11e5-b0fd-073d5930a7b7_story.html" target="_blank">distribute academic work more freely</a>. </span><span style="color: windowtext; font-size: 12pt; letter-spacing: 0pt;"><span style="font-family: "arial";">But
we should not be so quick to dismiss copyright law altogether: it provides what
little protection there is for academics against theft of their work. I
encourage scholars to familiarize themselves with the relevant federal law:
</span><a href="http://copyright.gov/title17/92chap2.html" target="_blank"><span style="font-family: "arial" , "helvetica" , sans-serif;">Title 17 of the </span></a></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://copyright.gov/title17/92chap2.html" target="_blank">United States Code, Circular 92, Chapter 2</a>. </span><span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;">Academics,
especially junior scholars – the most vulnerable among us to exploitation –
should be aware of the situation and of their legal rights.</span><!--EndFragment--></div>
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<span style="font-family: "arial";">At the same time, we should
be clear-eyed about the realistic value of a copyright in academia. Few
scholars have the tens of thousands of dollars that would likely be needed to
take such a case to court. What this means is that, if people really want to
steal your academic work, there is virtually nothing to stop them.<o:p></o:p></span></div>
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<span style="font-family: "arial";">Virtually nothing. The one
means we have left is professional pressure. Our professional organizations
have ethics policies, we can choose with whom we want to collaborate, and so on.
This is why I am ultimately disappointed to academic reaction to cases of
exploitation and abuse. Indifference means that these activities will continue
– why not, when there is no motivation to stop them? <o:p></o:p></span></div>
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<span style="font-family: "arial";">Take note, academics: When
you do not take action or speak up against abuses, you are allowing these
problems to continue. And you are failing your students.<o:p></o:p></span><br />
<span style="font-family: "arial";"><br /></span>
<span style="font-family: "arial";"><br /></span>
<span style="font-family: "arial";">UPDATE (May 24): I recently received a letter from the Semitic Museum confirming that my manuscripts had been removed from their publication files and that my chapters had been assigned to other scholars. It was disappointing not to see any reference to the fact that they stole my work, but this was to be expected. But more than that, reading this letter has underlined that I no longer have any ties to Ashkelon Excavations. The end of a (very bittersweet) era. </span></div>
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<span style="font-family: "arial"; font-size: x-small;">Ruins of Palmyra's Arch of Triumph destroyed by ISIS (photo taken March 27, 2016)</span></div>
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<span style="font-family: "arial";">On March 27, 2016, the
Syrian army recaptured Palmyra from ISIS. By the next day, news headline after
news headline trumpeted the liberation of its ancient remains and assessed
their status: </span><a href="http://www.theguardian.com/world/2016/mar/28/palmyra-ruins-syria-recapture-isis-antiquities" style="font-family: arial;" target="_blank">Damages to Palmyra Ruins in Syrian Recapture Less Than Feared, Experts Say</a><span style="font-family: "arial";"> (Guardian). </span><a href="http://bigstory.ap.org/urn:publicid:ap.org:17ae59d9eaf0406f95d995c22d04f497" style="font-family: arial;" target="_blank">Retaking Syria’s Palmyra Reveals More Shattered Antiquities</a><span style="font-family: "arial";"> (AP). </span><a href="http://www.middleeasteye.net/news/experts-rush-ancient-palmyra-after-syrian-army-ousts-1468517516" style="font-family: arial;" target="_blank">80 Percent of Ancient Palmyra in ‘Good Shape’: Syrian Expert</a><span style="font-family: "arial";">
(Middle East Eye). Archaeologists and other scholars shared before and after
photos of the damage on social media.</span></div>
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<span style="font-family: "arial";">What might not have been
clear if you followed the news stories and photographs is that there is also a
modern town of Palmyra (Arabic Tadmur) adjacent to the ancient site, with tens
of thousands of inhabitants. </span><br />
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<span style="font-family: "arial";"><br /></span>
<span style="font-family: "arial";">And here in microcosm is an unsettling problem/trend
of the entire war: media outlets and academic interest have obsessed over
ISIS’s treatment of antiquities, often at the expense of dealing with their
human victims. Hundreds of thousands of Syrians have died in the war; millions
are refugees, millions more internally displaced. But they are muted in our
coverage. <o:p></o:p></span></div>
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<span style="font-family: "arial";">We can name the sites that
have been looted and damaged: Palmyra and Apamea and Mari – the Temple of Bel,
the Arch of Triumph, the Great Mosque of Aleppo. But the Syrian dead are
nameless.<o:p></o:p></span></div>
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<span style="font-family: "arial";">There is one important exception
to this: Khaled al-Asaad, an archaeologist beheaded by ISIS at Palmyra last
year. Why is al-Asaad unique? Because (for academics) we can relate to his
field and his interest in the ruins of Palmyra? Or perhaps for another reason.
It has been reported that ISIS murdered al-Asaad because <a href="http://www.theguardian.com/world/2015/aug/18/isis-beheads-archaeologist-syria" target="_blank">he refused to reveal to them the location of antiquities</a> that had been hidden for safekeeping. Perhaps
we care about al-Asaad because he made the same calculation of the value of
monuments versus human (Syrian) life that we do.<o:p></o:p></span></div>
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<span style="font-family: "arial";">This is a morbid thought –
but is it wrong? Consider al-Asaad’s “obituary” <a href="http://www.dailymail.co.uk/news/article-3212140/A-martyr-civilisation-83-d-devoted-life-saving-sublime-ruins-refused-flee-knew-ISIS-savages-behead-him.html" target="_blank">in the Daily Mail</a>, written by
popular historian Tom Holland. Obituary is Holland’s own word, but I place it
in quotes because this is a very unusual example of the genre. Al-Asaad is not
mentioned until the eighth paragraph. There are three paragraphs on his death,
only one and half on his life – and eight on the history of Palmyra. The piece
focuses on that history and its loss at the hands of ISIS. Al-Asaad simply
becomes a character within that tragedy – not the real al-Asaad, but an
idealization, a “martyr for civilization” as the headline proclaims. Al-Asaad
does not speak for himself; instead we speak for him. “We know Khaled al-Asaad
felt” that the destruction of Palmyra’s ruins is blasphemy. “</span><span style="font-family: "arial"; mso-fareast-font-family: "Times New Roman";">He must
have anticipated what his fate would be” after transporting Palmyrene artifacts
safely out of the city. That ISIS was killing an ideal “was something al-Asaad
himself surely appreciated.”</span><span style="color: black; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="font-family: "arial";">In short, this is an
obituary where the deceased barely appears, and when he does he serves as a
ventriloquist’s dummy for our own thoughts.</span></div>
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<span style="font-family: "arial";">On the other hand, if we
actually listened to Syrians themselves, we would find that their relationship
with their cultural heritage is much more varied and complex. We would hear that
al-Asaad was just one of a network of thousands of employees of Syria’s Directorate-General
of Antiquities and Museums, archaeologists and others, <a href="http://www.haaretz.com/middle-east-news/1.711919" target="_blank">that has worked to protect artifacts</a> from ISIS and the Syrian army and various rebel groups alike.
And we would hear <a href="http://dgam.gov.sy/index.php?d=314&id=1960" target="_blank">the archaeologists themselves describe the role</a> that Syrian
citizens have played, in preventing ISIS from causing further damage at
Palmyra, for instance.<o:p></o:p></span></div>
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<span style="font-family: "arial";">But there are other
responses to the monuments, too. Recently, Kanishk Tharoor provided a glimpse in
his opinion piece <a href="http://www.nytimes.com/2016/03/20/opinion/sunday/life-among-the-ruins.html?smid=tw-share&_r=0" target="_blank">“Life Among the Ruins”</a> for the New York Times. Significantly,
Tharoor discussed how these monuments have been a part of the daily lives of
the people living in Syria. One voice in that piece belongs to Syrian archaeologist
Salam Al Kuntar, currently at Penn: as Al Kuntar says, “I have a special love
for Palmyra because the Temple of Baal is where my mother was born.” That is,
for so many the monuments are not just archaeological data to be studied or romanticized
symbols of civilization, but a very tangible part of everyday life. As it
happens, the ancient site of Palmyra itself was continuously inhabited right
into the twentieth century. Modern mudbrick houses were built among the ruins
of the classical city. </span><br />
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<a href="http://www.loc.gov/pictures/item/mpc2004001516/PP/" target="_blank"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAqaoUDFFAOX0bvBFeNm5o4v4mS0VnqTMgA3uLPHRWV5xeE0UrXegwOsAiV3ui7OgqrHlgUGGIE4JEjD1Y_Ul0FIrdO8dPPAnFWpTUjG1nlI8_JVmOA1mt1XdwTxyU_4HWXv0sXOvoY50/s400/01425v.jpg" width="400" /></a></div>
<div style="text-align: center;">
<span style="font-family: "arial"; font-size: x-small;">"Palmyra (Tadmor). Native village among the ruins of Temple of the Sun" (i.e., Temple of Bel). c. 1900-1920.</span></div>
<div style="text-align: center;">
<span style="font-family: "arial"; font-size: x-small;">Matson Photograph Collection, via Library of Congress</span></div>
<span style="font-family: "arial";"><br /></span>
<span style="font-family: "arial";">The inhabitants abandoned the site only in the 1930s, moving
to a new town next to the ruins in order to clear the way for French excavations
of the ancient site. This reveals as presumptuous the idea that these ruins are
owned equally by all of us as part of world heritage. The livelihood of many
Syrians depends on these monuments, too: tourism is an important part of the
local economy – or at least it was before the war.<o:p></o:p></span></div>
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<span style="font-family: "arial";">Other voices belong to the
people of Al Rafid, a village near Quneitra in southwestern Syria. The SMART
News Agency posted a video that appears to show villagers dismantling a
medieval building in order to rebuild their homes. This is a normal process:
archaeologists continually find evidence for how stone is reused again and
again at sites. And in the current situation, it feels a little hollow to
lecture people about preserving the past when they need to literally rebuild
their lives.<o:p></o:p></span></div>
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<span style="font-family: "arial";">Instead of staking
presumptuous claims to these monuments, or muting the Syrian victims of the
conflict, perhaps we should take a moment of silence. </span><span style="font-family: "arial";">For the dead. For the
displaced. And for those who remain, carrying on with their lives.</span></div>
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<span style="font-family: "arial"; letter-spacing: 0pt;">And
now, those of you who wish are free to return to mourning lifeless stone.</span><!--EndFragment-->Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com0tag:blogger.com,1999:blog-8753420987763205111.post-76065762346425734072016-02-11T09:46:00.000-06:002016-02-11T09:46:57.369-06:00Eating Our Young<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.museodelprado.es/en/the-collection/art-work/saturn/18110a75-b0e7-430c-bc73-2a4d55893bd6" target="_blank"><img alt="https://www.museodelprado.es/en/the-collection/art-work/saturn/18110a75-b0e7-430c-bc73-2a4d55893bd6" border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgroBcSLUft2ntW9tCk7HCBNyXETnM_TZYq-2C5XlAiZs6IIDVyoXzQFSe9zKFoC4y5gZWQAtkSd-nGrpahvl762zIglAWmIRIFq87n_DopEtbguO2XuLWnZpbw8vkt6Wxi89SmchadsR8/s640/Goya+Saturn+Prado.jpg" width="363" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: small;">Francisco Goya, <i>Saturn</i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: small;"><a href="https://www.museodelprado.es/en/the-collection/art-work/saturn/18110a75-b0e7-430c-bc73-2a4d55893bd6" target="_blank"><span style="font-family: "arial" , "helvetica" , sans-serif;">Museo del Prado, Madrid</span></a></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
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<br /></div>
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<span style="font-family: "arial"; font-size: 12.0pt;">It
should’ve been a proud moment.</span></div>
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<br /></div>
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<span style="font-family: "arial"; font-size: 12.0pt;">There was
my name on the cover and the title page, for contributing a chapter to the new
volume: <i style="mso-bidi-font-style: normal;">Ashkelon 5</i>, by Yaakov Huster.
Inside, the editors’ preface praised my work in helping to put this volume out.
</span></div>
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<span style="font-family: "arial"; font-size: 12.0pt;">It
should’ve been a proud moment, but it wasn’t. It was one of anger and sadness.
As it happens, I had co-authored the entire volume.</span></div>
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<span style="font-family: "arial"; font-size: 12.0pt;">I had been invited by Huster, the original
author, to write the book with him when he was unable to complete it on his
own. I also had a short-term editing contract to work on Huster's contributions
to the volume. However, after two years of delays from my co-author, and the
refusal of the editors of the series, Daniel Master and Lawrence Stager, to pay
me for my editing work for more than a year after it was completed,</span>
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<span style="font-family: "arial"; font-size: 12.0pt;">I was forced to
withdraw from the volume, taking my authored work with me. At that point, the
series editors claimed (falsely) that they owned my authored work, and simply
announced that they would use it without my permission and without crediting me
– all in the same email in which they tried to shame me for not being grateful
for all they'd done for me over the years.</span><br />
<br />
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--</style></span><span style="font-family: "arial"; font-size: 12.0pt;">In short,
my former Ph.D. adviser and a former fellow student had stolen my work.</span><br />
<br />
<span style="font-family: "arial"; font-size: 12.0pt;"><span style="font-family: "arial"; font-size: 12.0pt;">Why had
they done this? On one level, Master needed to justify the way he had overseen
the project. He had paid $60,000 to Huster to write the book when the book was,
in Master’s own words, clearly beyond him. It seems that I was the obvious
scapegoat. An example: after my co-author disappeared from contact for a year,
Master told me that I was at fault for having overestimated my ability to keep
in touch with Huster.</span></span><br />
<span style="font-family: "arial"; font-size: 12.0pt;">
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<br /></div>
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<span style="font-family: "arial"; font-size: 12.0pt;">But there
is another reason why Master and Stager did this: simply because they could.
One person I talked to after these events expressed sympathy with me for being
“Ashkelon'd”. That is, those familiar with the Ashkelon project and its
directors are well aware of a long line of people who have been victimized by
them. Over the course of these events I also realized that the Harvard Semitic
Museum, the institution behind the Ashkelon project, had for years been falsely
claiming copyrights of contributions to earlier volumes, including my own,
despite the fact that contributors had not signed any forms transferring
copyright, as required by law. Nor was this the only time my work had been
plagiarized. In his 2010 book <i>Philistine Iconography</i>, David Ben-Shlomo
reprints nearly verbatim an earlier article that we had co-authored on
Philistine figurines, without any acknowledgment that he had done so and, to my
knowledge, without permission of the copyright holder (in this case the journal
had had us sign forms transferring copyright). This means that all of the ideas
I had contributed to that article were passed off as his. In addition,
Ben-Shlomo stole ideas from my then-unpublished dissertation, including the
identification of a new figurine type. There have been no consequences to my
knowledge for any of these actions.</span></div>
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<span style="font-family: "arial"; font-size: 12.0pt;">All of the above, remember, is what has happened
in a single, relatively brief career. What if we extrapolate from that to
academia more generally? What if we look at even more serious issues such as
sexual harassment and abuse?</span></span><span style="font-family: "arial"; font-size: 12.0pt;"> Just over the last
few months, we have seen <a href="http://www.nature.com/news/harassment-victims-deserve-better-1.19190" target="_blank">revelations of sexual misconduct</a> </span><a href="http://www.nature.com/news/harassment-victims-deserve-better-1.19190" target="_blank">
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</style><span style="font-family: "arial"; font-size: 12.0pt;">concerning
high-profile scientists such as Jason Lieb (University of Chicago), Christian
Ott (Caltech), and Geoffrey Marcy (Berkeley). Judging from these
and <a href="http://www.sciencemag.org/news/2016/02/sexual-misconduct-case-has-rocked-anthropology" target="_blank">other examples</a>, abuse and exploitation are an epidemic in the academy.</span><br />
<br />
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<span style="font-family: "arial"; font-size: 12.0pt;">This leads
me to perhaps the most disheartening thing about my own story: No one seems to
care. While those I've confided in have expressed sympathy, almost no one
called it what it is – theft and exploitation – and insisted that it must stop.
Instead, I was repeatedly encouraged, by junior and senior scholars alike, to
keep quiet about the incident and move on. I debated with myself at length
before writing down my experiences. It is as if we all view such abuse and
exploitation not as an outrage, but as an unfortunate but inevitable – even
necessary – part of the scholarly process. A rite of passage into academia,
perhaps.</span></div>
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<span style="font-family: "arial"; font-size: 12.0pt;">Maybe it has always been this way. Consider the
case of David Robinson and Mary Ross Ellingson: Robinson was a prominent
classical archaeologist in the early to mid-20th century who stole his student
Ellingson's work, publishing her master's thesis and part of her doctoral
dissertation under his own name. Alan Keiser, who wrote a book about the case (<i style="mso-bidi-font-style: normal;">Archaeology, Sexism, and Scandal</i>), <a href="http://savageminds.org/2015/02/23/why-the-peer-review-process-works-even-when-it-doesnt/" target="_blank">has discussed</a> how much indifference he met when trying to find a publisher. </span><span style="font-family: "arial"; font-size: 12.0pt;"><span style="font-family: "arial"; font-size: 12.0pt;">
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<span style="font-family: "arial"; font-size: 12.0pt;">As one reviewer
wrote, “what you are dealing with here is part of the unwritten history of
classical archaeology. Best to leave it unwritten.”<span style="mso-spacerun: yes;"> </span>There, an incident in the distant past,
involving figures long dead, is wished to be left in the past. Here, we are
dealing with a recent episode involving figures still prominent in the field,
but the response is the same. In the recent cases of sexual harassment and
abuse, the initial reaction of faculty and administrators was to cover up and
ignore the incidents</span></span>. It appears
that we are simply never supposed to discuss these matters.</span><br />
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--</style><span style="font-family: "arial"; font-size: 12.0pt;">And so it
seems that academic ethics run on an honor system – but that honor system is
routinely violated. What do we do then, when the system is a failure? Or <i>is</i>
it a failure? The honor system ends up entrenching the power of senior figures;
perhaps it is designed to do so. Senior scholars are less likely to suffer a
violation of the system, because of the power they wield in it; and if they do,
their prominence and influence will help balance any negative consequences.
What about for a junior scholar, who does not have such a network to help them? Who has trouble fighting back (and is in fact encouraged not to do so) – who
is most vulnerable to mistreatment? What if the people doing the victimizing are
your own mentors? Where can you turn then?</span></div>
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<span style="font-family: "arial"; font-size: 12.0pt;">In these
cases, silence is not enough. We cannot simply stand by while these incidents
happen, because this will only allow them to happen again and again – unless we
are fine with the continued exploitation and mistreatment and abuse of the very
students we are supposed to be promoting. By allowing such things to happen,
over and over, we are failing in our most basic responsibilities: nurturing our
own students, the very future of our profession. Will our own fields survive in
this time of threat to the humanities? And if they do, what wreckage are we
leaving in them? I look at this situation again and again and come to the same
conclusion:</span></div>
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<br /></div>
<span style="font-family: "arial"; font-size: 12.0pt;">We are failing<span style="font-family: "arial";">.</span></span>
Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com2tag:blogger.com,1999:blog-8753420987763205111.post-42473788592156995182015-12-11T14:42:00.000-06:002015-12-11T14:42:11.741-06:00What We Know about the New Hezekiah Sealing<!--[if gte mso 9]><xml>
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<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">At a press conference last Wednesday
(December 2), Eilat Mazar of Hebrew University announced the discovery of a
royal sealing of Hezekiah, king of Judah (late 8th-early 7th centuries BCE).
The sealing came from her excavations in the Ophel (immediately south of the
Temple Mount), in Jerusalem in 2009, though it was only found in sifting in
2010. News of the find has quickly spread, not only through the press
conference itself but an <a href="http://new.huji.ac.il/en/article/28173" target="_blank">accompanying press release</a> and a series of articles in
Israeli and international media.<o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">The sealing has naturally attracted a great
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<!--StartFragment-->
<span style="font-family: "arial"; letter-spacing: 0pt;">(I will provide only a
brief summary here. For more details on the text and imagery see <a href="https://withmeagrepowers.wordpress.com/2015/12/03/a-seal-of-king-hezekiah/" target="_blank">George Athas’s useful post</a> on the contents of the seal.)</span><!--EndFragment-->
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<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">The object is a bulla (or sealing), formed by
impressing a seal into a wet piece of clay. Bullae were typically used to seal
documents and containers; in the case of this object, there are impressions on
the reverse from cords used for tying up the document. The face (obverse) of
the impression includes an inscription in two lines, along with two symbols: a
winged sun disk (a common ancient Near Eastern motif), and an ankh (an Egyptian
symbol of life).<o:p></o:p></span></div>
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<!--StartFragment-->
<span style="font-family: "arial"; letter-spacing: 0pt;">(belonging) to Hezekiah
[son of] Ahaz king of Judah</span><!--EndFragment-->
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<span style="font-family: "arial"; font-size: 12pt; letter-spacing: 0pt;"><br /></span></div>
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<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">The letters in brackets at the end of each
line are reconstructed, as the left edge of the sealing was broken off.
However, there is no question of the reading: we have identical sealings – that
is, impressions from the same seal – that turned up on the antiquities market
in the 1990s. The word <i style="mso-bidi-font-style: normal;">ben</i>, “son
(of)”, was omitted from the seal, but we have many other examples where it is
missing from patronymics. Its absence is often attributed to lack of space.<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: black; font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-themecolor: text1;">[1]</span></span><!--[endif]--></span></span></a> <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">The archaeological context<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">This may be the area of greatest confusion.<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: black; font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-themecolor: text1;">[2]</span></span><!--[endif]--></span></span></a> First,
it is important to note that there is no question about the provenance of the
find: it comes from an ancient dump in a controlled excavation – Area A of
Mazar’s excavations in the Ophel, from 2009. As it comes from a controlled
excavation, there is therefore no question that the object is genuine. However,
the heading of the press release is incorrect in stating that the object was
found in situ (that is, noticed in the ground). It was found in dirt removed
and sifted offsite, at the Emek Tzurim sifting facility operated by Gabi Barkay
and Zachi Dvira of the <a href="http://textualcultures.blogspot.com/2015/09/a-king-david-era-seal-and-temple-mount_30.html" target="_blank">Temple Mount Sifting Project</a>. Sifting
is a standard archaeological practice, generally used to catch things that
might be missed by the eye during the course of excavation. (This bulla is just
over a centimeter long.) As has been <a href="http://alt-arch.org/en/archaeology-on-a-slippery-slope/" target="_blank">reported previously</a>, a
number of excavations in Jerusalem do not conduct their sifting on-site but
send their dirt to Emek Tzurim to be sifted there; Mazar’s Ophel dig was one of
these.</span><br />
<span style="font-family: arial;"><br /></span>
<span style="font-family: arial;">The context of the sealing is also clear: it comes
from an ancient dump, probably dating to the 7th century BCE. </span><a href="http://robertcargill.com/2015/12/03/some-questions-about-the-recent-news-of-the-discovery-of-a-seal-bearing-the-name-of-king-hezekiah-in-jerusalem/" style="font-family: arial;" target="_blank">Robert Cargill has suggested</a><span style="font-family: arial;"> that there is an “obvious stratigraphic problem” in excavating an
ancient dump. It is a discard context, not a use context, so we
certainly lose information about how the object was originally used, or where.
We cannot be confident, like Mazar, that the sealing was dumped from an
adjacent building that she has designated as “royal”. But discard contexts are
perfectly good archaeological contexts. (In fact, most artifacts in excavations
found in dumps and fills rather than use contexts.) They are still part of the
life-cycle of an object, and we can learn much from them, as archaeologists
have come increasingly emphasized over the last few decades. So there is
nothing inherently wrong with the context, and no stratigraphic problem here.</span></div>
<div style="mso-element: endnote-list;">
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-family: "arial";">Significance<o:p></o:p></span></b></div>
</div>
<div style="mso-element: endnote-list;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://commons.wikimedia.org/wiki/File:Taylor_Prism-1.jpg" target="_blank"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRfpzsGeVj6YmOVe7y4rmPsUTQc0IN0_-nJw-D6Ii2DDHB7xI57JeZYz-e7wqJ_V1fr7pgziYQU22jPO0jnYk-_iTf9Xg0vSpZOvWV7yizNtibg9ouSJiJbdPSEQefuvjrOnYNnEb-1_s/s320/Taylor_Prism-1.jpg" width="153" /></a></div>
<div style="mso-element: endnote-list;">
<br /></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Taylor Prism with Sennacherib's Annals, including his campaign against Hezekiah</span></div>
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">(Wikimedia Commons, photo by David Castor)</span></div>
<div style="mso-element: endnote-list;">
<br /></div>
<div style="mso-element: endnote-list;">
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<!--StartFragment--><span style="font-family: "arial";">The sealing tells us nothing new about the political history of Judah. We already had confirmation of Hezekiah’s existence and reign at this time from Assyrian records. </span><span style="font-family: "arial"; letter-spacing: 0pt;">We also learn little about
epigraphy (study of the text) and iconography (the imagery). The sealing is
merely a data point; the true value lies in the accumulation of many such
points of data. These allow us to do things such as track changes in motifs or
names on seals over time. The significance of this individual bulla is therefore
limited. Maybe in the future we can do more with developing techniques of analysis,
but we are not there now.</span><br />
<span style="font-family: "arial";"><br /></span>
<span style="font-family: "arial";">There is one sense in which the sealing has a
great deal of importance, however: in its emotional value, for those invested
in seeing the Bible come to life. Mazar has often exaggerated the significance
– specifically the biblical significance – of her discoveries: she has in the
past announced finding David’s palace, <a href="http://textualcultures.blogspot.com/2015/03/pipe-dreams-how-we-tell-story-of-davids.html" target="_blank">the tunnel David used to conquer Jerusalem</a>, and Nehemiah’s wall around the city. In this
case the exaggeration is not so extreme, as this clearly is the seal impression
of Hezekiah king of Judah. But she has gone beyond this. Ilan Ben Zion of the</span><span style="font-family: "arial";"> <a href="http://www.timesofisrael.com/seal-bearing-name-of-judean-king-found-in-jerusalem/" target="_blank">Times of Israel</a> quotes her as saying that the discovery “</span><span style="font-family: "arial";">strengthens what we know already from the Bible about [Hezekiah]” and
that it is “the closest as ever that we can get to something that was most
likely held by King Hezekiah himself.” Thus Mazar dramatizes the find and exaggerates
what we can reasonably say – that it must have been used by Hezekiah himself,
when she cannot provide a convincing argument for this. Mazar further
speculates that the ankh (a symbol of life) indicates that the seal was made
after Hezekiah’s recovery from his life-threatening skin disease in 2 Kings
20 and Isaiah 38. This is a problematic case of starting with the assumption that
the biblical texts are fundamentally historical (a problematic way of reading
the Bible). It is also a remarkable case of <a href="http://asorblog.org/2015/09/14/king-david-slept-here/" target="_blank">the positivist fallacy in archaeology</a>, the idea that what is observable (in the archaeological record) is
historically significant or matches our textual sources. Even if we assumed for the moment that the accounts of Hezekiah’s
reign in 2 Kings, Isaiah, and 2 Chronicles are straightforward historical narratives,
they still provide us with relatively little information on his entire reign
and life. It is extremely unlikely that any particular artifact we find (like
the sealing and its design) would relate directly to an event in the biblical
account.</span></div>
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<span style="font-family: "arial";"><br /></span>
<span style="font-family: "arial";"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">Ethical issues<o:p></o:p></span></b></div>
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<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">Many questions about ethics have been raised
in connection with the find. Cargill among others has questioned the timing of
the announcement, but there is nothing unusual here. The answer is in fact contained
within the press release: first, while the artifact was found in 2010, the
current reading – identifying it as the seal of Hezekiah king of Judah – was
made more recently (“Only this year”, according to the Times of Israel).
Second, the announcement was made on the same day that the first volume of the
final report on Mazar’s Ophel excavations (with the full scholarly publication of
the sealing) was published. In this respect, I believe Mazar is to be commended
for saving the announcement until the full publication of the seal.
Archaeologists often make sensational announcements quickly, before complete
publication of the data; this means that scholars cannot fully evaluate the
claims made. That is not the case here.<o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">I have tried to indicate above how Mazar has
exaggerated the importance of her finds and their connection to biblical texts.
This problem is magnified by her excavation’s connection with </span><span style="color: black; font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">Herbert W. Armstrong College, an unaccredited institution
of the <a href="https://www.pcog.org/about" target="_blank">Philadelphia Church of God</a> in Edmond, Oklahoma. For the college,
the Bible is the Word of God and <a href="https://www.hwacollege.org/armstrong" target="_blank">the foundation of their educational system</a>. Their video about the bulla, linked by the online press release, dramatizes
the discovery as proof of this belief, of the convergence of “science” and the
Bible.</span><span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"><o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/SW8HM9RQYlI/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/SW8HM9RQYlI?feature=player_embedded" width="320"></iframe></div>
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<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">These connections are further underlined by
the Israeli government’s use of the sealing. Prime Minister Benjamin Netanyahu
released a statement (<a href="https://www.facebook.com/Netanyahu/photos/a.376960237075.156823.268108602075/10153313697152076/" target="_blank">available on his Facebook page</a>) shortly after the
announcement: in it he refers to the seal as evidence of Jerusalem as “our eternal
and undivided capital” – turning the ancient bulla into a modern political statement
projecting Israeli claims over East Jerusalem. Meanwhile, the Herbert W. Armstrong College video appears embedded in the <a href="http://mfa.gov.il/MFA/IsraelExperience/History/Pages/Impression-of-King-Hezekiah-royal-seal-discovered-2-Dec-2015.aspx" target="_blank">Ministry of Foreign Affairs announcement</a>, and a still is used by the State of Israel’s
official Twitter account in its announcement of the find.<o:p></o:p></span></div>
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<blockquote class="twitter-tweet" lang="en">
<div dir="ltr" lang="en">
Impression of King Hezekiah's royal seal discovered in Jerusalem:
<a href="https://t.co/rWnVHBcTN6">https://t.co/rWnVHBcTN6</a> <a href="https://twitter.com/hashtag/Archaeology?src=hash">#Archaeology</a> <a href="https://t.co/WufT9rnGJI">pic.twitter.com/WufT9rnGJI</a></div>
— Israel ישראל (@Israel) <a href="https://twitter.com/Israel/status/672400164414341120">December 3, 2015</a></blockquote>
<script async="" charset="utf-8" src="//platform.twitter.com/widgets.js"></script>
</div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"><br /></span>
<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">Given the political claims, it is not
surprising that the dig’s location in East Jerusalem has also been the subject
of discussion. While this issue was not raised in the Israeli news articles,
others – such as those from the Daily Beast and <a href="http://www.cnn.com/2015/12/03/middleeast/king-hezekiah-royal-seal/index.html" target="_blank">CNN</a> – commendably tried
to address the ethics of excavation in this contested area. They correctly
point out that archaeology has been used to privilege Jewish claims to East
Jerusalem over Arab ones, especially at the City of David site (which is </span><span style="color: black; font-family: "arial"; mso-themecolor: text1;">contained within the
Palestinian neighborhood of Silwan). Especially noteworthy is the role of the
Ir David Foundation (also known as Elad), which has as its explicit goal the
<a href="http://www.nytimes.com/1998/06/09/world/settlers-move-into-4-homes-in-east-jerusalem.html" target="_blank">Judaization of East Jerusalem</a> (including replacing Arab residents with
Jewish by buying, or claiming to buy, Arab homes and renting them to Jews. Elad
funds digs in the City of David and</span><span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"> operates
archaeological parks, in which the Jewish history is emphasized while Arab
history is minimized or ignored. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">Mazar’s dig, however, is not within the City
of David but in the Ophel, north of Silwan and away from Palestinian
residential areas. Nor is it funded by Elad (although Elad does fund the Emek
Tzurim sifting facility where the sealing was found). Mazar has also conducted
excavations in the City of David, however, and <a href="http://archaeology.huji.ac.il/depart/biblical/eilatm/eilatm.asp" target="_blank">in the past these were funded by Elad</a>; Mazar had <a href="http://www.haaretz.com/israel-news/top-archaeologist-decries-jerusalem-dig-as-unscientific-tourist-gimmick-1.389244" target="_blank">a public break with Elad</a> in 2011 over a disputed
excavation.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">At the same time, the excavation and the
bulla cannot be divorced from their larger context. As we have seen, the Israeli
Prime Minister himself has made use of the seal for nationalist aims. And the
Ophel is part of <a href="http://alt-arch.org/en/from-silwan-to-temple-mount/" target="_blank">a chain of parks</a> in development stretching from the Temple
Mount to Silwan. As a group this chain does impinge on
Palestinian residents, and the Ophel like the other parks focuses on the Jewish
history of the region.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">Beyond all of this, digging in East Jerusalem
involves an additional problem. While Israel has annexed East Jerusalem, this
action is not officially recognized by other countries; internationally, East
Jerusalem is seen as part of the West Bank, which is </span><span style="color: black; font-family: "arial"; mso-themecolor: text1;">considered occupied
territory. As a result, for the international community Article 5
(“Occupation”) of the <a href="http://portal.unesco.org/en/ev.php-URL_ID=13637&URL_DO=DO_TOPIC&URL_SECTION=201.html" target="_blank">1954 Hague Convention for the Protection of Cultural Property in the Event of Armed Conflict</a> would be in force. Under
Article 5, an occupying power is required to respect “</span><span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">cultural property” (which includes archaeological
remains). An occupying power is allowed to take certain steps to protect
cultural property, steps which reasonably include salvage archaeology, but the
conditions under which it is allowed under are restricted: these include military
threat and collaboration or consultation with authorities of the occupied
country. Because it is questionable whether these conditions are met by Mazar’s
dig, the status of her excavation under the Hague Convention appears to be
problematic. Again, Israel maintains it is not an occupying power in East
Jerusalem, so in the Israeli understanding these conditions would not apply;
but the international understanding is different, at least officially.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">Conclusion<o:p></o:p></span></b></div>
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<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">The sealing is a nice addition to our Iron
Age corpus from Israel and Judah. There is no question of its genuineness.
Based on what we currently now, the bulla is of limited historical value, however.
It does have a great deal of value to those who are emotionally invested in the
Bible – for religious or nationalist reasons – and in seeing it as a
fundamentally historical document. <o:p></o:p></span></div>
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<br /></div>
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<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">Now that the dust has settled after the
announcement, we can move beyond confused claims and idle questions and start
to have a more productive critical discussion about archaeological finds from
Jerusalem and their many meanings.<o:p></o:p></span><br />
<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"><br /></span>
<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">*Thanks to Thomas Bolin, Morag Kersel, Matthew Suriano, and Laura Wright for discussion and suggestions. Of course, the opinions expressed here are not theirs but mine alone.</span></div>
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<div id="edn1" style="mso-element: endnote;">
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<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: black; font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-themecolor: text1;">[1]</span></span><!--[endif]--></span></span></span></a><span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"> For example, see Yigal Shiloh, <a href="http://www.jstor.org/stable/27926006" target="_blank">A Group of Hebrew Bullae from the City of David</a>, <i style="mso-bidi-font-style: normal;">Israel
Exploration Journal </i>36 (1986), p. 31. (Note that 6 out of 30 bullae
listed by Shiloh here are missing <i style="mso-bidi-font-style: normal;">bn</i>
before the patronymic.) This point was also made by Athas.<o:p></o:p></span></div>
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<div id="edn2" style="mso-element: endnote;">
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<a href="https://www.blogger.com/blogger.g?blogID=8753420987763205111#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: "arial"; font-size: 12.0pt; letter-spacing: 0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">[2]</span></span><!--[endif]--></span></span></span></a><span style="font-family: "arial"; mso-bidi-font-family: "Times New Roman";"> <span style="color: black; mso-themecolor: text1;">The issue has been so misunderstood
that even the scholars appear to be confused. An article (dated December 3) in the <a href="http://www.thedailybeast.com/articles/2015/12/03/archaeologist-says-the-bible-s-king-hezekiah-is-real.html" target="_blank">Daily Beast</a> by New Testament scholar Candida Moss of Notre Dame
originally claimed that </span></span><span style="color: black; font-family: "arial"; mso-themecolor: text1;">“[t]he material is being sifted from <span style="mso-bidi-font-weight: bold;">piles of dirt</span> removed as part of <span style="mso-bidi-font-weight: bold;">Palestinian construction in the area</span>.”</span><span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;"> This is a reference to the Temple Mount Sifting Project, which is sifting piles of dirt removed from the Temple
Mount and dumped in the Kidron Valley to the east. On this basis, Robert
Cargill, an expert in Second Temple Judaism at the University of Iowa, is
quoted saying that the stratigraphy of the find is “compromised.” But as I
discussed above this is not the case. The claim appears to be based on a
misunderstanding of the statement on the discovery in the press release. But
the statement is quite clear, and corroborated by a <a href="https://templemount.wordpress.com/2015/12/02/seal-impression-of-king-hezekiah-found-with-the-assistance-of-the-sifting-project/" target="_blank">post from the Temple Mount Sifting Project</a>. The Daily Beast’s error is a serious one, directly
contradicting Mazar’s statements about the origin of the sealing; it
essentially implies – by all appearances unintentionally – that Mazar was lying
about the sealing’s provenance.<o:p></o:p></span></div>
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<span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">Within a day the Daily Beast article was
changed, with the mistaken claim removed; it now reads </span><span style="color: black; font-family: "arial"; mso-themecolor: text1;">“</span><span style="color: black; font-family: "arial"; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">The material is being sifted in the same sifting facility
as another archaeological project that sifts through piles of dirt removed as
part of Palestinian construction in the area.”</span><span style="color: black; font-family: "arial"; mso-bidi-font-family: "Times New Roman"; mso-themecolor: text1;">
<span style="mso-spacerun: yes;"> </span>However, there is no apology for the
error or any acknowledgment of the change. And the other language (about
compromise, as well as questioning of legitimacy) remains, now making little
sense.<o:p></o:p></span></div>
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Michaelhttp://www.blogger.com/profile/00783582513572485558noreply@blogger.com3