Relevant bibliographies by topics / Artistic traditions of the past

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Artistic traditions of the past'

Author: Grafiati
Published: 28 May 2022

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Journal articles on the topic "Artistic traditions of the past"

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Varyvonchyk, Anastasia. "Inheritance of traditions in the training of artistic embroidery." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 145–51. http://dx.doi.org/10.32461/2226-0285.1.2021.238610.

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The purpose of the study light the problem related to the tracking of the historical evolution of embroidery, creative activity of the people's masters (on the example of the popular master P. Vlasenko), and determine the development of educational and teaching activities in the direction of embroidery art. The problem of restoring real events of the historical and pedagogical process occurring in schools-workshops on Ukrainian lands is updated. The leading task arose the question of drawing attention to the names of the patients of the late XIX century of the twentieth century, which contribu
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Mukhitdinova, Nazmiya. "TRADITIONS OF ALISHER NAVOI IN THE DEVAN OF SADOI AND GAZI(ON THE EXAMPLE OF GAZELLES ON THE THEMES OF HAMD, NAAT, MUNOJAT AND MANKABAT)." INTERNATIONAL JOURNAL OF ALISHER NAVOI 1, no. 2 (2021): 138–48. http://dx.doi.org/10.26739/2181-1490-2021-2-16.

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Literary continuity is a unique cultural, high-level literary phenomenon in which the concepts of creative inspiration, imitation and the continuation of great talent are one of the most important features of Eastern classical literature. Regardless of which branch of art is formed in this cultural and literary process, it becomes clear that the main goal is to "renew", learning "from the past" and developing their ideas and artistic abilities. The article examines the issues of tradition and originality of poems by Mirhasan Sadoi and Muhammad Gazi, who grew up in the workshop of Alisher Navoi
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Mironova, Tatiana. "Metaphysics of postmodern figurative art in Ukrainian art of the late XX - early XXI century." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 37–42. http://dx.doi.org/10.32461/2226-2180.39.2021.238678.

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The purpose of the article is to study the artistic traditions and conceptual innovations in the works of Ukrainian artists of the XX-XXI centuries. In contemporary Ukrainian art, figurative language is produced simultaneously with the renewal of public consciousness and in certain aspects directly contributes to its formation. Figurative imagery using Ukrainian artists of this cultural period is not only the result solely of sensory experience, they also absorb the institutionalization of social experience that allows them to reflect different levels of reality. The methodology is the cultura
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Hordecki, Bartosz. "Farewell to the Past Century?" Politeja 16, no. 5(62) (2019): 237–53. http://dx.doi.org/10.12797/politeja.16.2019.62.14.

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The Russian authorities, supported by the representatives of the Russian cultural circles, celebrated 2018 as a year of harmonious reception of their literary traditions. Accordingly, the 100th anniversary of Alexander Solzhenitsyn’s birth was included into the series of commemorations and jubilees, minimizing, however, the problem of the Russian literature’s profound heterogeneity and inconsistency. Disregarding differences between literary currents, equalizing various, often contradictory intellectual phenomena can manifest that the Russian authorities search for a kind of cultural synthesis
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Fedorchuk, Olena. "The folk-art center as a phenomenon of ethnic artistic tradition." Journal of Ethnology and Culturology 29 (August 2021): 94–100. http://dx.doi.org/10.52603/rec.2021.29.13.

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The research of folk-art centers is based on the materials of the ethnic artistic tradition of the Ukrainian folk costume beaded decor. The folk-art center is presented as a unique place with a strong energy field. In such places, several artistic traditions are often born and developed. The birth of each new artistic tradition is always associated with the need for works of art as in the means for the realization of socially significant functions. In particular, the artistic practices within the tradition of the Ukrainian folk costume beaded decor have always been an effective means of ethnic
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Ludewig, Alexandra. "Screening the East, Probing the Past: The Baltic Sea in Contemporary German Cinema." German Politics and Society 22, no. 2 (2004): 27–48. http://dx.doi.org/10.3167/104503004782353276.

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Since the fall of the Berlin Wall, unification, and the subsequent reinventionof the nation, German filmmakers have revisited theircountry’s cinematic traditions with a view to placing themselves creativelyin the tradition of its intellectual and artistic heritage. One ofthe legacies that has served as a point of a new departure has beenthe Heimatfilm, or homeland film. As a genre it is renowned for itsrestorative stance, as it often features dialect and the renunciation ofcurrent topicality, advocates traditional gender roles, has antimodernovertones of rural, pastoral, often alpine, images,
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Damrhung, Pornrat. "Cultivating the Garden of Theater Culture: A New Perspective on Traditional Theater in Thailand." MANUSYA 2, no. 2 (1999): 29–60. http://dx.doi.org/10.1163/26659077-00202003.

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After questioning the conventional distinction between traditional and modem theater in Asia, this essay suggests that it may be more fruitful to view today’s live theater traditions as part of a garden of theater culture that includes both native and imported elements and both deep-rooted and recently transplanted traditions. The remainder of the essay amplifies this perspective using examples from Thailand’s theater traditions during the last century and a half. This prepares the way to consider the strengths and weaknesses of traditional theater staged in Thailand during the last decade or
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Eremenko, Galina A. "Passeism in the Musical Culture of France." Observatory of Culture 16, no. 2 (2019): 171–82. http://dx.doi.org/10.25281/2072-3156-2019-16-2-171-182.

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The specialists note and highly appreciate the openness to creative dialogue with different European and regional cultures in their works about the artistic history of France. In the introductory section, the article is focused on the importance of the opposite trend, developed in the 19th — early 20th century in all spheres of art. The purpose of the new movement is “national revival”, interest in the ori­gins of the great heritage of the French masters of past epochs. The author concentrates on the peculiarities of interaction between leading composers, musicians-performers and teachers with
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Krykbayeva, S., L. Bakirova, and K. Zhedelov. "PREREQUISITES AND PLOT-COMPOSITIONAL FEATURES OF THE DIRECTION OF SURREALISM IN THE VISUAL ARTS." EurasianUnionScientists 4, no. 10(79) (2020): 10–15. http://dx.doi.org/10.31618/esu.2413-9335.2020.4.79.1059.

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The article reveals the preconditions for the emergence and features of surrealism as an artistic direction. The rejection of the traditions of realism, the autonomy of the artist's personality, irony, playfulness in creativity, the scandalous and shocking nature of his presentation are due to the turning point of the era. The study of surrealism is aimed at forming a systematic, holistic view of the art of the past century in the reader, developing his own position in relation to its diverse innovations.
 The influence of scientific art criticism in the field of surrealism on the formati
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Kokhan, Tymofii. "Traditions and current state of the "police" series: the Italian experience." Culturology Ideas, no. 21 (1'2022) (2021): 42–50. http://dx.doi.org/10.37627/2311-9489-21-2022-1.42-50.

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The article reconstructs the Italian experience of creating "police" series, which from the 80s of the XX and the first two decades of the XXI century coexisted in the cinema of this country in parallel with feature films of the "criminal" genre, which were sometimes assessed as not only national but also European culture in general. The article focuses on the professionalism of the vast majority of "police" series and films made in Italy over the past forty years, and emphasizes that some series openly competed with films, especially in terms of skill and popularity of directors and actors in
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Dissertations / Theses on the topic "Artistic traditions of the past"

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Стойко, В. М. "Травестування художніх традицій минулого в романі Патріка Зюськінда "Парфумер. Історія одного вбивці"". Thesis, Сумський державний університет, 2017. http://essuir.sumdu.edu.ua/handle/123456789/66603.

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Німецька класика, освітлена в романі Патріка Зюськінда «Парфумер. Історія одного вбивці» новими, «негативними» фарбами, виконує роль сенсобудуючого ключа до постмодерністського тексту з його нігілістичною у відношенні до людини і світу теорією, з його філософським песимізмом і філологічною безмежною розкутістю.
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Gaston, Anne-Marie. "Continuity and recreation in the performing arts of India - a study of two artistic traditions : part I, the makers of modern Bharata Natyam; part II, the musicians of Nathdvara." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315832.

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Austin, Jill Hemming. "Performing the past| Two pageant traditions in Nauvoo, Illinois." Thesis, Indiana University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3715827.

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<p>Jill Hemming Austin PERFORMING THE PAST: TWO PAGEANT TRADITIONS IN NAUVOO, ILLINOIS The founders of American historical pageantry were keenly interested in the social effect of pageant performance on audience and participants. Their vision for social transformation through performance endures into the present day with those who continue to promulgate the form. Examining two enduring pageant traditions in Nauvoo, Illinois affords a better understanding of how the formal features of outdoor historical pageant production and the social relations that underlie them are still potentially powerf
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Crowther, Gillian Mary. "Haida creative traditions : reconciling the present with the past." Thesis, University of Cambridge, 1992. https://www.repository.cam.ac.uk/handle/1810/272238.

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Liberovskaya, Katherine. "Multimedia then and now : today's digital form and past artistic concepts." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ54265.pdf.

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Lam, Yung, and 林勇. "Writing in the shadow, or writing the present in the past and writing the past for the present." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31950620.

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Lam, Yung. "Writing in the shadow, or writing the present in the past and writing the past for the present." [Hong Kong : University of Hong Kong], 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13762084.

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Clopot, Cristina Elena. "Russian Old Believers' heritage and traditions in Romania : bridging the past and future." Thesis, Heriot-Watt University, 2017. http://hdl.handle.net/10399/3346.

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This thesis focuses on the heritage and traditions of the Russian Old Believers community in Romania. The study begins with an examination of the limited recognition of the 19 officially recognised ethnic groups in the country. Analysed in connection with the history of Old Belief, the study then considers (a) the narratives developed around heritage, (b) the manner in which different forms of heritage are included in Old Believers’ lives and traditions and (c) the representation of that heritage. The theoretical framework is underpinned by a multi-disciplinary structure that draws on heritage
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Altschuler, Jenny. "Between forever and never : the photograph as a bridge between past and present; memory and it's fiction, 1981-2009." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/7802.

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Includes bibliographical references (p. 62-64).<br>In Camera Lucida Roland Barthes (1980: 64-66), describes the process of looking through his mother's photographs after her death. He weighs up how much of her he recognises in the images he comes across. He evaluates the versions of her that are portrayed and deduces that "none seem to be really 'right':" neither as photographic performances nor as existing recurrences of "the beloved face" that he carries in his psyche. He talks about trying to find her, and achieves only part satisfaction in pinpointing fragments in each image that seem to d
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Trydegård, Gun-Britt. "Tradition, Change and Variation : Past and Present Trends in Public Old-age Care." Doctoral thesis, Stockholm University, Department of Social Work, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-695.

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<p>The general aim of this dissertation is to describe and analyse how public old-age care in Sweden has developed and changed during the last century. The study applies a provider perspective on how care has been planned and professionally carried out. A broader social policy perspective, studying old-age care at central/national as well as local/municipal level, is also developed. A special focus is directed at the large local variation in care and services for the elderly. The empirical base is comprised of official documents and other public sources, survey data from interviews with elderl
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Books on the topic "Artistic traditions of the past"

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On tradition: Essays on the use and valuation of the past. AMS Press, 1992.

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Quiltcraft: New dimensions from past traditions. New Century Publishers, 1986.

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Hawaiian surfing: Traditions from the past. University of Hawaiʻi Press, 2011.

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DeLancey, Elaine. Quiltcraft: New dimensions from past traditions. New Century Press, 1985.

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Molina-Pantin, Luis. III series: Past, present & future. CCSIS, 1996.

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Fotografii proshlykh let =: Photographs of past years. I︠U︡nipak, 2005.

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Phelan, Robert J. New traditions: Thirteen Hispanic photographers. New York State Museum, State Education Dept., 1986.

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1949-, Ziegler Herbert F., ed. Traditions & encounters: A global perspective on the past. 4th ed. McGraw-Hill, 2008.

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Bentley, Jerry H. Traditions & encounters: A global perspective on the past. 2nd ed. McGraw-Hill, 2003.

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1949-, Ziegler Herbert F., ed. Traditions & encounters: A global perspective on the past. 2nd ed. McGraw-Hill, 2003.

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Book chapters on the topic "Artistic traditions of the past"

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Elegba, Atsede Maryam. "HAGIOGRAPHIC TRADITIONS OF ETHIOPIAN MONASTICISM." In Orthodox Monasticism Past and Present, edited by John A. McGuckin. Gorgias Press, 2015. http://dx.doi.org/10.31826/9781463236656-015.

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Lee, Kai-Sean. "Contemporary Malaysian Pâtisserie: Tales of Asian Creativity Confined by Western Traditions." In Contemporary Asian Artistic Expressions and Tourism. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4335-7_12.

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Dascal, Marcelo. "Traditions of controversy and conflict resolution: Can past approaches help to solve present conflicts?" In Traditions of Controversy. John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/cvs.4.19das.

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Winyard, Ben. "‘Their Deadly Longing’: Paternalism, the Past, and Perversion in Barnaby Rudge." In Nineteenth-Century Radical Traditions. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-59706-9_3.

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Welton, Michael R. "Introduction: Reclaiming Our Past: Memory, Traditions, Kindling Hope." In Knowledge for the People, edited by Michael R. Welton. University of Toronto Press, 1987. http://dx.doi.org/10.3138/9781487571948-003.

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Buglione, Enrico. "Regional Finance in Italy: Past and Future." In Italian Regionalism: Between Unitary Traditions and Federal Processes. Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-03765-3_12.

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Bauer, Doron. "Islamicate Goods in Gothic Halls: The Nachleben of Palma de Mallorca’s Islamic Past." In Artistic and Cultural Dialogues in the Late Medieval Mediterranean. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53366-3_5.

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Bağcı, Serpil. "İlhanlı - Celâyirli -Timurlu Görsel Sanatlarında Devamlılık." In Cengiz Han ve Mirası. Turkish Academy of Science, 2021. http://dx.doi.org/10.53478/tuba.2021.032.

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"This study aims to discuss the interrelation between Ilkhanid, Jalayirid and Timurid artists and works of art. It first focuses on a sixteenth-century text, now in the Topkapı Palace Museum Library, which was written by the Safavid artist Dust Muhammad as a preface to an album that he compiled. According to Dust Muhammad, the artists who worked for Ilkhanid rulers continued to produce under Jalayirid patrons and trained younger generation of artists. This continuous artistic genealogy evidently resulted in pictorial conventions shared between generations. The second part of the study deals with the tradition of book illustration passed down from Ilkhanids to Jalayirids and focuses on an unfinished Jalayirid Shāhnāma produced for Shaykh Uvays. The manuscript survived through its illustrations pasted onto the leaves of another Topkapı Palace album. These extant paintings are closely related to an Ilkhanid Shāhnāma datable to 1330-35. Both the iconographic preferences and stylistic affinity illustrate the continuity between the two artistic traditions. The remains of the Jalayirid Shāhnāma served as a pictorial source for another copy of the text produced almost fifty years later. The Timurid prince Baysunghur b. Shahrukh carried this unfinished work to Herat around 1420, and his artists re-interpreted these images as the model for his Shāhnāma completed in 1430. These three illustrated Shāhnāma copies exemplify the survival of the artistic heritage of the Ilkhanids in Jalayirid and Timurid courts."
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Cervin, Georgia. "The Origins of Women’s Artistic Gymnastics." In Degrees of Difficulty. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043772.003.0002.

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Chapter 1 explores the origins of women’s artistic gymnastics. Founded on Enlightenment ideas about physical education, various gymnastic traditions emerged throughout Europe in the early nineteenth century, in response to rising nationalism. Friedrich Jahn and Pehr Henrik Ling devised many of the apparatuses still in use today, and as gymnasts began contesting who could perform the complex movements, gymnastics underwent sportification. But women were not included in competitions. In the 1920s, Alice Milliat pressured the International Olympic Committee to develop women’s sport, and women’s artistic gymnastics finally became a permanent part of the Olympic program in 1952. The debutant gymnasts showcased the physical cultures from which they came, highlighting the differences between the state-sponsored Soviet sports system, and the laissez-faire US approach. This chapter argues that despite vastly different national traditions and gender expectations, women’s gymnastics was created and standardized as a result of international cooperation in what had hitherto been considered a man’s domain.
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Canepa, Matthew P. "Sasanian Memory and the Persian Monumental and Ritual Legacy." In Iranian Expanse. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520290037.003.0012.

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Chapter 12 explores the techniques by which the early Sasanian dynasty shaped Pars’ patrimony of glorious Achaemenid ruins and foregrounded its ancient artistic heritage and traditions of ritual. The built and natural environment of Pars, including Achaemenid ruins and new sites, created a vital experience of the Sasanians’ new vision of the past and their place in it.
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Conference papers on the topic "Artistic traditions of the past"

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Тарабурка, Э. "Имплицитна и експлицитна история в творчеството на Йордан Радичков и Ион Друца". У Межкультурное и межъязыковое взаимодействие в пространстве Славии (к 110-летию со дня рождения С. Б. Бернштейна). Институт славяноведения РАН, 2021. http://dx.doi.org/10.31168/0459-6.39.

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The history concept of Y. Radichkov and the I. Druță finds both similar accents and differences. The “implicit” trend, with diachronic research, is more typical of Radichkov who turns himself into the witness and guardian of history of earth in itself, that which has kept relics of the past and tells us about war and peace, the Roman period and Ottoman rule, about nomads and sedentary tribes, about heathen, Muslims and Christians. Druță is more explicit, more traditional, does not “extract” the past directly from the earth, but relies on folk legends, even the artistic reproduction of events f
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Kaizerová, Petra. "A probe inside the poetic form of mysticism of Slovak Romantic Messianists." In The Figurativeness of the Language of Mystical Experience. Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-17.

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The Slovak Romantic Messianism is perceived by us as a phenomenon growing from a specific current epochal situation relating to a relatively rich tradition, which existed in the Slovak cultural context already in previous historical periods. By considering the characteristic features of production, its existence was often relativised. Nevertheless, it represents an important testimony of a concrete epoch. Its artistic implementation (perhaps today more than in the past) is being well appreciated, thanks to its interesting form and to its expressive and narrative strength or value. By focusing
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Ptichnikova, Galina. "Artistic Resources of Media Architecture." In Proceedings of the 2019 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/ahti-19.2019.69.

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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.

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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of
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Levitskaia, Tatiana. "THE FORGOTTEN WAR: WORKS BY N. A. LUKHMANOVA ABOUT MANCHURIA." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.28.

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Nadezhda Lukhmanova (1841–1907) was a novelist, playwright, publicist, lecturer. Today her name is almost forgotten, but at the turn of the 19th–20th centuries she was well-known throughout Russia: her artistic and dramatic works were widely in demand, she gave lectures in the capital and abroad, worked as a journalist in the leading St. Petersburg newspapers. At the age of 62, she took part in the Russian-Japanese war as a nurse of the Red Cross and war correspondent (Peterburgskaia gazeta, Yuzhniy Krai). During her stay in the war and later in Japan, Lukhmanova wrote not only travel notes an
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Oparina, Nina Aleksandrovna, and Irina Dmitrievna Levina. "Folklore traditions in the family artistic and creative education of children." In International applied research conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-119278.

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Khubbitdinova, Narkas Ahmetovna. "Artistic Representation Of Traditions And Rites In Bashkir Epic "Ural-Batyr"." In International Scientific Congress «KNOWLEDGE, MAN AND CIVILIZATION». European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.05.107.

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Идрисов, Рауф. "TRADITIONS OF G. IBRAGIMOV AND THE ARTISTIC WORLD OF A. ENIKI." In LINGUISTIC UNITS THROUGH THE LENS OF MODERN SCIENTIFIC PARADIGMS. Baskir State University, 2021. http://dx.doi.org/10.33184/yevssnp-2021-11-30.29.

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Dutsev, Mikhail. "The Image of History as Artistic Dominant of the Urban Environment." In 3rd International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211125.175.

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Ghilas, Ana. "Traditional cultural expressions in theatrical performance: meaning and value." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.02.

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The object of the investigation is the relation between theatrical discourse and traditional cultural expressions. The main objective of the research is to highlight the way traditional art was made use of by directors at different historical stages and the artistic, cognitive, educational meanings and valences of some forms of traditional cultural expressions in the structure of theatrical discourse. Resorting to the comparativehistorical method, through the analyzes of the performances, we demonstrate the polysemanticism of the dramatic action and the variety of artistic functions of the tra
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Reports on the topic "Artistic traditions of the past"

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of ce
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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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Abstract:
The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book
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3

Brophy, Kenny, and Alison Sheridan, eds. Neolithic Scotland: ScARF Panel Report. Society of Antiquaries of Scotland, 2012. http://dx.doi.org/10.9750/scarf.06.2012.196.

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Abstract:
The main recommendations of the Panel report can be summarised as follows: The Overall Picture: more needs to be understood about the process of acculturation of indigenous communities; about the Atlantic, Breton strand of Neolithisation; about the ‘how and why’ of the spread of Grooved Ware use and its associated practices and traditions; and about reactions to Continental Beaker novelties which appeared from the 25th century. The Detailed Picture: Our understanding of developments in different parts of Scotland is very uneven, with Shetland and the north-west mainland being in particular nee
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