Physical Evidence For The Early Church In Scotland

Review of the physical evidence for the early church in Scotland. Characterises the nature of the evidence for ecclesiastical sites, landmarks in past study, key recent developments, and explores six key emerging themes: the development of cemeteries as placed of burial for local Christian communities; the physical manifestations of saints’ cults; the desire to build in stone as an expression of alignment with the Roman church; the scale, complexity and diversity of ‘church’ forms and functions; the structured use of space at church settlements; and the associated crafts, industries and technologies

The legacy of nineteenth-century replicas for object cultural biographies : lessons in duplication from 1830s Fife

Peer reviewedPostprin

Churches and Social Power in Early Medieval Europe. Integrating archaeological and historical approaches

Output Type: Book Revie

CO680 Career Counseling

This class is intended to be a foundational course in career counseling that will equip students with the necessary knowledge and skills for performing career development and counseling services in a variety of settings. The course incorporates both theoretical and applied dimensions of career counseling. Though primarily designed for students in the MA Counseling program, the course would be valuable for students in other programs who work with adolescent and other populations.https://place.asburyseminary.edu/syllabi/3660/thumbnail.jp

The V&A in Dundee - the city shares more than a century of history with the London museum

First paragraph: Glowing from enthusiastic reviews and well-deserved plaudits since the spectacular Kengo Kuma building was unveiled in September 2018, the V&A Dundee – the first V&A outside of London – has much longer standing connections with the city than many people realise. Billed as Scotland's first design museum, the building houses a permanent new Scottish Design Gallery and space for circulating exhibitions. Discovering this hidden history helps reflect on this new V&A, the stories it tells and the stories it chooses to leave out – chiefly, why a gallery dedicated to telling the story of Scottish design, focuses only on the past 600 years.https://theconversation.com/the-vanda-in-dundee-the-city-shares-more-than-a-century-of-history-with-the-london-museum-10600

"A bright crowd of chancels": whither early church archaeology in Scotland?

First paragraph: In Thomas Clancy's translation of a poem probably written by Beccán of Rum (d. AD 677), a poet, hermit and saint associated with Iona and the Hebrides, we learn of the perceived extent of St Columba's influence in promoting Christian beliefs and converting people beyond his monastic base on Iona (Clancy and Márkus 1995: 147, 156). Today we acknowledge that a change of belief need not immediately correlate with Christianisation - a change in ritual practices - and that the lived experience of religion might often involve just small-scale and repetitive actions quite difficult for archaeologists to detect in most contexts, which extend technically anywhere (see Petts 2011). We struggle to recognise whether some structures associated with early burial places are actually early churches. Indeed, we appreciate that for the majority of people, the earliest Christian worship could have taken place in the home, and that prior to the eighth century burials rarely took place in a church graveyard (see for example, O'Brien 2003; Maldonado 2011; 2013). Yet, written while Iona was energetically developing the cult of Columba, this seventh-century poem with its reference to ‘chancels' reminds us how the presence of churches was, and still is, an important index of the spread, nature and broad impact of Christianity in early medieval Scotland. This paper offers a brief commentary on the present state of play with early church archaeology in Scotland, some of the issues, and the rationale for a future approach that on the one hand puts Scottish church archaeology on the European stage while at the same time responding to and celebrating its diversity and local idiosyncrasies

Circulating agency: The V&A, Scotland and the multiplication of plaster casts of 'Celtic crosses'

The creation of bespoke collections of plaster casts of ‘Celtic' sculpture for the 1901 Glasgow International Exhibition and museums in Dundee in 1904/11 and Aberdeen in 1905 provides a Scottish lens on a wider phenomenon and its context: South Kensington's role in the provinces, museums and ‘imperial localism', burgeoning curatorial professionalism and networking, milestones in early medieval scholarship, objects as ‘archaeology' or ‘art', the value of replicas, and the Celtic Revival. A ‘provinces-up' approach explores practices on the ground to reveal the significance of the work of the V&A's Circulation Department and of people such as R. F. Martin, that institutional histories omit. Exposing how the Dundee and Aberdeen art exhibitions were selectively derivative of Glasgow's antiquarian enterprise, and the vagaries of their subsequent survival, illuminates the importance of understanding what past and present collections omit and why, as well as what they include

Future thinking on carved stones

No abstract available

Scottish Archaeological Research Framework: Future Thinking on Carved Stones

No abstract available

Concrete and non-concrete: exploring the contemporary authenticity of historic replicas through an ethnographic study of the St John's Cross replica, Iona

What do we actually know about how replicas of historical objects and monuments 'work' in heritage contexts, in particular their cultural significance and intangible values? In this article we examine this question drawing on ethnographic research surrounding the 1970 concrete replica of the eighth-century St John’s Cross on Iona, Scotland. Challenging traditional precepts that seek authenticity in qualities intrinsic to original historic objects, we show how replicas can acquire authenticity and 'pastness', linked to materiality, craft practices, creativity, and place. We argue that their authenticity is founded on the networks of relationships between people, places and things that they come to embody, as well as their dynamic material qualities. The cultural biographies of replicas, and the 'felt relationships' associated with them, play a key role in the generation and negotiation of authenticity, while at the same time informing the authenticity and value of their historic counterparts through the 'composite biographies' produced. As things in their own right, replicas can 'work' for us if we let them, particularly if clues are available about their makers’ passion, creativity and craft