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The church of Saint Sophia in Andravida, built around the mid-13th century in Elis, Western Greece has its still-remaining apse roofed in ribbed cross vaults. Built by the Frankish Princes of Achaia who occupied in the 13th and 14th century an area dominated by the native Byzantine architecture, Saint Sophia shows the great effort and attention paid in transferring new architectural forms and technology into a politically and culturally alien environment. This paper discusses the vaults’ construction and structural behaviour and explores questions around the technology transfer mechanisms from Western workshops. Although efficient, the vaults appear rather basic, and conservative compared to the contemporary endeavour to gradual disintegrate the envelope in Gothic architecture in Western Europe. On the whole, the analysis of the geometry, construction and structural performance showed a well-executed design with direct local input only at the construction stage.

Menuahinili olarak tanımlanan arkeolojik merkez, Iğdır’ın Karakoyunlu ilçesinin 2,6 km. güneydoğusunda alçak bir lav akıntısı tepesi üzerinde bulunmaktadır. Bu merkez ile ilgili ilk araştırmalar 19. Yüzyılın sonlarında Rus bilim insanları tarafından başlatılmış olup geride kalan yaklaşık 150 yıllık süreçte yerli yabancı birçok bilim insanının hemfikir olduğu üzere ilgili arkeolojik merkez Menuahinili olarak tanımlanmıştır. Urartu Kralı Menua’ya ait Taşburun ve/veya Başbuluk-Bulakbaşı yazıtları ile haberdar olunan antik kentin Urartu Krallığı sonrasında Geç Demir Çağı’nda da yoğun bir kullanıma sahne olduğu anlaşılmaktadır. 2021 yılı araştırmaları kapsamında çalışma yapılan arkeolojik merkezde ateş çukuru bu ateş çukurlarına entegre libasyonlar, Geç Demir Çağı’na tarihlenen çanak çömlek parçaları ve bir tane heykelcik kafası tespit edilmiştir. Orta Aras Havzası’nın Iğdır Ovası ile Ağrı Dağı’nın doğuda iç içe geçtiği alanda bulunan arkeolojik merkezin İran ve Ermenistan’a olan yakınlığı merkezin Geç Demir Çağı’nda kullanılmış olma ihtimalini güçlendirmektedir. Menuahinili olarak adlandırılan arkeolojik merkezde Geç Demir Çağı’na tarihlenen bulgular bu makalenin özünü oluşturmaktadır The Arhaeological center, defined as Menuahinili is 2,6 km. from Karakoyunlu district of Iğdır southeast of it is on a low lava flow hill. The first researches on this center were starded by Russian scientists at the end of the 19 century, and in the past 150 years, as many local and foreign scientists agree the relevant archaeological center was defined as Menuahinili. It is understood that the ancient cidy which is known with the Taşburun and/or Başbulak-Bulakbaşı inscirptions belonging to the Urartian King Menua was the sceene of intense use in the Late Iron Age after the Urartu Kingdom. In the city where the work was carried out with the scope of the 2021 researches, libations integrated into these fire pits, potsherdes from the Late Iron Age and a figurine head were found. The proximity that the archaeological center to Iran and Armenia located in the area where the Iğdır Plain of the Middle Aras Basin and Mount Ararat intertwine in the east, strengthens the possibility that the center was used in the Late Iron Age. Findings dated to the Late Iron Age in the archaeological center called Menuahinili constitute the core this article.

Purpose Eco-museums safeguard the cultural authenticity and the historical identity of the place in which they operate. Conventional organizational models and management practices are generally employed to achieve this institutional aim. Conversely, innovative solutions – such as digitization – are overlooked. Adopting a service quality management perspective, the article intends to examine the role of managerialization and professionalization in triggering eco-museums' digitization. Design/methodology/approach An empirical analysis involving 126 eco-museums operating in Italy as of 2018 was designed to investigate the implications of managerialization and professionalization on the eco-museums' propensity to embark on a digitization process. Two different forms of digitization were examined: (1) the presence of eco-museums in the digital environment; and (2) the exploitation of digital tools for service delivery. The mediating role of two “soft” total quality management (TQM) practices, i.e. people centredness and strategic focus on visitors' experience, was contemplated in the empirical analysis. Findings The research findings suggest that managerialization and professionalization have ambiguous effects on eco-museums' digitization. Nevertheless, they indirectly contribute to a greater digital presence of eco-museums and to a larger use of digital tools for service delivery through an increased use of soft TQM practices. Research limitations/implications Managerialization and professionalization are likely to foster the digital transition of eco-museums, which advances their ability to protect and promote the local cultural heritage. Soft TQM practices intended to achieve people-centredness and to enhance the visitors' experience should be exploited to stimulate the eco-museums' digitization. Originality/value The article examines the triggers of eco-museums' digitization, providing some food for thought to scholars and practitioners.

La Mission archéologique d’Amyan a débuté ses travaux en 2019. Situé dans le nord-ouest du Kurdistan irakien, le site d’Amyan se présente comme un tell important entouré d’une ville basse, d’une surface d’une quinzaine d’hectares. Occupé de manière quasi ininterrompue depuis le Néolithique jusqu’à la période islamique, Amyan se présente comme le site idéal pour étudier l’occupation de cette région du Kurdistan irakien ainsi que le rapport entre le site et son environnement immédiat, la plaine de Navkur, dans l’arrière-pays de Ninive, plaine extrêmement fertile qui témoigne d’une importante densité d’occupation. Cet article présente dans un premier temps un aperçu historique de cette région depuis le VIIe millénaire jusqu’à la période islamique. Dans un second temps sont exposés les résultats de la première campagne de la Mission archéologique d’Amyan. Northern Mesopotamia, Nineveh’s land and the new researches at AmyanThe Archaeological Expedition in Amyan began its work in 2019. Located in the northwestern region of Iraqi Kurdistan, the site of Amyan presents itself as an important tell surrounded by a lower town, with a surface area of around fifteen hectares. Occupied almost continuously from the Neolithic to the Islamic period, Amyan is the ideal archaeological site to study the occupation of this region of Iraqi Kurdistan as well as the relationship between the site and its immediate environment, the Navkur plain, in the hinterland of Nineveh, an extremely fertile plain which shows a high density of occupation. This article first presents a historical overview of this region from the 7th millennium to the Islamic period. Then, the results of the first campaign of the Archaeological Expedition in Amyan are developed. شمال بلاد الرافدين، أرض نينوى والأبحاث الأخيرة في اميانبدأت البعثة الأثرية في موقع اميان عملها في عام ٢٠١٩. وهو يقع في شمال غرب كردستان العراق، ويظهر كتل كبير محاط محاطة بمدينة منخفضة، تقدر مساحتة بحوالي خمسة عشر هكتاراً. تم استيطان الموقع دون انقطاع تقريبا منذ العصر الحجري الحديث وحتى العصر الإسلامي، ويعتبر اميان موقعاً مثالياً لدراسة الاستيطان البشري في هذه المنطقة من كردستان العراق وكذلك العلاقة المباشرة بين الموقع وبيئته، أي سهل نافكور، في المناطق المحاذية لنينوى، وهو سهل خصب للغاية يشهد على كثافة عالية من الاستيطان. يقدم هذا المقال أولاً لمحة تاريخية عن هذه المنطقة من الألف السابع حتى العصر الإسلامي. ثم يعرض ثانياً نتائج تنقيبات البعثة الأثرية في اميان.

U članku se razmatraju prostorne i oblikovne značajke stambene arhitekture Osijeka u 18. stoljeću. To su većinom građanske kuće obrtnika, trgovaca, gradskih i vojnih činovnika, koje nastaju na parcelama unutar planski izgrađenoga grada-tvrđave. Kuće imaju karakteristična tlocrtna obilježja koja čine nizovi i grupe prostorija, kod kvalitetnijih u prizemlju redovito s vežom, koja može biti centrirana ili decentrirana u odnosu na središnju os, a na katu reprezentativni salon. Identificiraju se pojedinačni primjeri kuća, s obzirom na vrijeme nastanka i naručitelje, kao i arhitektonska rješenja, uz bitnu odrednicu da je riječ mahom o reprezentativnim katnicama višeg standarda koje su se isticale u vizuri grada. One u izvjesnoj mjeri preuzimaju elemente s javnih i vojnih zgrada što se tumači djelovanjem istih graditelja i projektanata – vojnih inženjera koji su bili angažirani na gradnji tvrđave, a koji dokumentirano projektiraju i građanske kuće.

Au Brésil le nombre de chercheurs ou enseignants-chercheurs docteurs qui mentionnent l’ethnobotanique comme un des mots-clés de leur parcours est passé de 500 à plus de 2200 en douze ans. Alors que ce champ disciplinaire demeure discret en France, il explose au Brésil et mobilise des domaines très divers, disciplines naturalistes mais aussi génétique, chimie, droit, développement durable… dans un paysage territorialisé autour d’une diversité d’approches méthodologiques. Dans quelle trajectoire les savoirs sur les relations plantes-sociétés au Brésil s’inscrivent-ils ? De quels débats sont-ils porteurs ? Quels sont ses nouveaux acteurs ? In Brazil, the number of researchers and PhD-level research fellows who mention ethnobotany as one of their keywords has increased from 500 to 2,200 in the past twelve years. While this disciplinary field remains confidential in France, it is booming in Brazil and mobilizes various fields; from naturalist disciplines to genetics, chemistry, law, sustainable development... in a landscape which is the object of many different methodological approaches. Where does this knowledge on plant-society relations in Brazil belong? What kinds of debates does it open? Who are the discipline's new stakeholders?

Tema rada je mramorna skulptura sv. Ivana Krstitelja iz crkve posvećene istom svetcu na predjelu Šilovo Selo na otoku Šipanu. Premda se radi o vrsnijem renesansnom kiparskom ostvarenju u dubrovačkom kraju, u dosadašnjoj literaturi tek je usputno spomenuto. Skulptura se ističe i po skupocjenijem materijalu od kojega je isklesana, a posebice jer je na njezinoj poleđini svjesno zadržan dio romaničkoga figurativnog reljefa. Na osnovi podrobne analize nastojalo se ukazati na to da je skulptura sv. Ivana Krstitelja nastala u prvoj polovini 16. stoljeća, kao i to da je za njezinu izradu upotrijebljen mramorni ulomak na kojem je bio predočen orao u borbi sa zmijom iz prve polovine 13. stoljeća. Posebna pozornost bila je usmjerena i na sam fenomen reutilizacije mramora i promišljenog zadržavanja starijega skulpturalnog uratka kao svojevrsnog znamena drevnosti, a koji je detektiran i na nekolicini drugih primjera na prostoru Dubrovnika i njegove okolice.