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Copyright of Interdisciplinary Studies of Literature is the property of Interdisciplinary Studies of Literature Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study represents a research aimed at exploring the potential of traditional kutnu weaving in textile design. Although the origin of kutnu weaving is uncertain, research indicates that this tradition was particularly prevalent in the regions of Damascus, Aleppo, and Harput, and was first produced in Bursa, Turkey. The purpose of the research is to revive, develop, and promote the technical, color, motif, and compositional characteristics of kutnu fabric weaving, bringing it into contemporary context as a source of inspiration in textile design. In the design process, inspiration was drawn from kutnu fabrics for the shape theme and from the line theme observed in vegetable drying methods produced in the Gaziantep region. Selecting the content theme from the Gaziantep region, where kutnu fabrics are currently heavily woven, was considered to ensure coherence with the subject matter. Accordingly, the Gaziantep Zeugma Mosaics were chosen as the content theme. Within the scope of the research, weave and heddle drafts were developed for 30 designs on a 32 frame loom according to the identified content and shape themes. Twelve woven fabric designs were selected for the collection, and fabric and product dressing simulations were prepared. The created fabric collection represents the sustainability of traditional kutnu weaving in contemporary designs. Enriched with color, motif, and compositional features, this collection preserves the value of kutnu weaving while adapting it to modern design sensibilities, contributing to the sustainability of traditional kutnu weaving in contemporary designs. [ABSTRACT FROM AUTHOR]

Zeugma ('yoking') is a figure of speech which, unlike metaphor, typically involves a verb followed by two discrepant objects or items in a coordinating conjunction ('You held your breath and the door for me'). A reversal of the given order of the two items will often have a considerable effect on the tone and emotional quality of the zeugma. Still, accounts of zeugma all but ignore the question of order. This essay asks about the connection between the order of the zeugma's items and its effect. It differentiates between the positions or slots for the items within the zeugma, and the actual items which occupy these slots. It posits an asymmetry between the first and second slots such that the second is the site of more attention and is presumed to carry more important or surprising information. Structurally, then, the zeugma entails a weak-to-strong trajectory. Separately, it also posits an asymmetry between the two items themselves, which tend to divide into a weaker (neutral) one and one that is emotionally richer or 'strong.' The effect of the zeugma is then linked to the relationship between the strength of the slot and the strength of the item. In the typical case, a strong item is placed in the strong slot, which produces an effect of emotional elevation. In other cases, a weak item is placed in the strong slot, which tends to produce irony. We analyze several zeugmas according to these principles, with an emphasis on examples drawn from English-language poetry. [ABSTRACT FROM AUTHOR]

For any research program examining how ambiguous words are processed in broader linguistic contexts, a first step is to establish factors relating to the frequency balance or dominance of those words' multiple meanings, as well as the similarity of those meanings to one other. Homonyms—words with divergent meanings—are one ambiguous word type commonly utilized in psycholinguistic research. In contrast, although polysemes—words with multiple related senses—are far more common in English, they have been less frequently used as tools for understanding one-to-many word-to-meaning mappings. The current paper details two norming studies of a relatively large number of ambiguous English words. In the first, offline dominance norming is detailed for 547 homonyms and polysemes via a free association task suitable for words across the ambiguity continuum, with a goal of identifying words with more equibiased meanings. The second norming assesses offline meaning similarity for a partial subset of 318 ambiguous words (including homonyms, unambiguous words, and polysemes divided into regular and irregular types) using a novel, continuous rating method reliant on the linguistic phenomenon of zeugma. In addition, we conduct computational analyses on the human similarity norming data using the BERT pretrained neural language model (Devlin et al., 2018, BERT: Pre-training of deep bidirectional transformers for language understanding. ArXiv Preprint. arXiv:1810.04805) to evaluate factors that may explain variance beyond that accounted for by dictionary-criteria ambiguity categories. Finally, we make available the summarized item dominance values and similarity ratings in resultant appendices (see supplementary material), as well as individual item and participant norming data, which can be accessed online (https://osf.io/g7fmv/). [ABSTRACT FROM AUTHOR]

Introduction.The article analyses the specifics of the functioning of the zeugma in artistic speech. Despite the popularity of this rhetorical figure since ancient times and its use in various spheres of communication, there is still no complete clarity about the essence of this linguistic phenomenon.Methodology and sources.The article considers various interpretations of the zeugma, determines its place in the circle of other rhetorical figures, conducts a structural analysis of zeugmatic constructions, identifies its syntactic and morphological variations, analyzes the stylistic potential. As an empirical material, lyrical and prose texts of German-language literature of the XIX–XX centuries are used, including works by H. Heine, A. Döblin, G. Trakl, G. Benn, K. Edschmid, H. Böll and other authors.Results and discussion.As a rhetorical figure, zeugma is built on the conflict of syntax and semantics, representing several syntactically homogeneous, but semantically heterogeneous elements. Zeugma, as a rule, has a nuclear word in its composition, in which, in conjunction with various actants, different meanings/shades of meanings are actualized, although “non-nuclear” zeugmas are also found. The role of the reference element is most often a verb-predicate, less often the core of the construction becomes an adjective, participle, adverb, noun. The elements of the paratactic series are usually nouns (homogeneous subjects, additions, circumstances), but the analysis also reveals cases of illogical combinations represented by other parts of speech, as well as examples with heterogeneous morphological forms within the same zeugmatic construction. The functional analysis of the zeugma demonstrates the rich stylistic potential of this rhetorical figure, which acts as a means of humor and satire in literary texts, serving to convey emotional states, semantic saturation of the utterance, and the increment of new meanings.Conclusion. Zeugma acts as a significant method of pragmatic focusing in a literary text, being especially widely represented in modernist literature, characterized by semantic multilayering and intensity of artistic expression.

Use of rhetorical figures has been an element of persuasive speech at least since Gorgias of Leontini, for whom such deliberate deviations from ordinary literal language were a defining feature of what he called the 'psychagogic art'. But must we consider figures of speech limited to an ornamental and merely stylistic function, as some ancient and still many modern theorists suggest? Not according to contemporary cognitive rhetoric, which proposes that figures of speech can play a fundamentally argumentative role in speech by evoking a level of shared meaning between speaker and listener, and simultaneously by affording the possibility of reorganizing this common ground. This paper argues that, in Latin literature, zeugma—the 'linking together' of two elements (usually nouns or prepositional phrases) with a third (usually a verb) that is semantically compatible with only one of them—can and very often does operate argumentatively, and that it does so by surfacing figurative relationships that normally remain below the conscious awareness of Latin speakers and by imparting a certain structure to these relationships. What very often motivates the selection of elements within zeugma—and what makes zeugma more than simply a stylistic device—are in fact metaphorical structures that are highly conventionalized in Latin's semantic system. In tapping into symbolic associations that are deeply entrenched in the language and thought of Latin speakers, zeugma therefore provided a ready-made device for constructing arguments in context. [ABSTRACT FROM AUTHOR]

Copyright of Studia Slavica Academiae Scientiarum Hungaricae is the property of Akademiai Kiado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ankara University SBF Journal / Ankara Üniversitesi SBF Dergisi is the property of Ankara University SBF Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the strategies that Evelyn Fox Keller has employed to analyze the work of metaphor in the language and practice of science, particularly in biology. It offers that the rhetorical device of zeugma – 'the use of a word to modify or govern two or more words usually in such a manner that it applies to each in a different sense ...' (Merriam-Webster) – is worth leaning upon to further open up the linguistic operations Keller identifies as animating scientists' talk of genetic codes and programs. Inspired by Indigenous and trans scholarship on the limits of metaphor, the piece argues for reinvigorated conversation about the politics of analogy in biology. [ABSTRACT FROM AUTHOR]

Copyright of Gumushane Universty Electronic Journal of the Faculty of Communication / Gümüshane Üniversitesi Iletisim Fakültesi Elektronik Dergisi is the property of Gumushane Universitesi Iletisim Fakultesi Elektronik Dergisi (e-GIFDER) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Basic Education College Magazine For Educational & Humanities Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article reassesses mosaic programmes in domestic contexts and in private spheres in the houses at Zeugma and in some other Greco-Roman cities. The starting point of the argument in the article is a mosaic inscription which was found in a Roman house in Zeugma. The mosaic pavement itself decorates the floor of a chamber decorated with geometric patterns and the inscription in the middle. The inscription is an epithalamium, a wedding song, written for a newly-wedded couple, probably residents of the house, whose names are also partly preserved in the poem. The inscription suggests that the theme and iconography of the mosaics and frescoes in public dining rooms and private rooms in the domestic context are associated with the stories of the gods, goddesses or other well-known couples related to the concept of ideal marriage in mythology and in literature. These marriage-related themes are accompanied by images of Dionysiac domesticity and Bacchic frenzy. This article proposes that many of these mosaics, which are much more permanent than the rest of the decoration, may have been commissioned as part of marriage preparations, perhaps as gifts to the wedded couple. The subjects are chosen according to the intellectual background of the house-dwellers and their milieu, from literary and mythological narratives that are meant to protect the new family’s happiness and union, serve as a reminder of marriage and symbolize the perpetuity of the family’s progeny and its prosperity.

El zeugma es una de las figuras más características del Guzmán de Alfarache, y su empleo implica un constante reto para el lector. El estudio de este recurso da cuenta de ciertas preferencias de Mateo Alemán, interesado en deleitar a sus lectores y evitar el tedio que podría derivar de una excesiva repetición o simetría. Si bien en ocasiones la omisión de un término recuperable en el discurso busca simplemente compensar la dilatación del período, sin que forma y sentido varíen (zeugma simple), existe otra vertiente, el zeugma complejo, donde lo omitido presenta modificaciones. Es sobre todo esta última la que evidencia también una búsqueda de la agudeza por parte de Alemán, que despliega su ingenio y confía en el «discreto lector», cuya participación en el juego retórico es imprescindible para comprender la obra. De este modo, en el presente artículo se pretende exponer las conclusiones extraídas del análisis del zeugma en el Guzmán de Alfarache, una obra que conjuga la variedad y el decoro, la amplificatio y la brevitas.

Copyright of Anatolia / Anadolu is the property of Ankara University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article provides an interpretation of Middle Ages, a poem from Stanisław Barańczak’s debut publication Facial Corrections (1968). Focussing on the way that numerous examples of zeugma and syllepsis are used, the author argues that this poem, which was probably inspired by the first Polish publication of the Waning of the Middle Ages by J. Huizinga, was created through the poet’s reflections on the structure of messianic time (kairos). As such it can be seen as both a polemic with materialism and a criticism of Christianity. In this way Middle Ages proves to be the first of post-secular Barańczak’s poems which herald the wealth of spiritual explorations in his later works.

Copyright of Anatolia / Anadolu is the property of Ankara University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The hoard was unearthed in the sector named Kaya Odası located in the south of Villa Danae at Zeugma in 23.03.2009. It consist 424 bronze coins and coin fragments, which are dated 4th and 5th century A.D. The earliest identified coin in the hoard attributed to house of Constantine and the latest one attributed Leo I. The coins bear the type of monogram that is uncertain gives the possible latest date of the hoard, around AD 490. Most of the identifiable coins can be attributed to Leo I, Theodosius II and Marcianus. It might be said that great majority of the coins probably came from the eastern mints. Mints of Antioch and Carthage to be represented with 6 coins and Constantinople, Nicomedia and Rome follow them respectively. [ABSTRACT FROM AUTHOR]

In his book Knowledge and Practical Interests Jason Stanley offers an argument for the conclusion that it is quite unlikely that an ambiguity theory of ‘knows’ can be “linguistically grounded”. His argument rests on two important assumptions: (1) that linguistic grounding of ambiguity requires evidence of the purported different senses of a word being represented by different words in other languages (i.e. represented by more than one word within other languages) and (2) that such evidence is lacking in the case of ‘knows’. In this paper, I challenge the conclusion that there isn’t a linguistic grounding for an ambiguity theory of ‘knows’ by making cases against both of Stanley’s major assumptions. I will do this by making a case for a prime facie linguistic grounding for a polysemy theory of ‘knows’ without appealing to word use in other languages. Given that a polysemy theory of ‘knows’ is a type of ambiguity theory of ‘knows’ (as will be explained shortly), if I succeed in linguistically grounding a polysemy theory of ‘knows’, then I have shown that at least one type of ambiguity theory of ‘knows’ can be linguistically grounded. [ABSTRACT FROM AUTHOR]

About Mosaic of Pasiphae-Daidalos in Villa of Poseidon from Zeugma/Belkıs Ancient City, which has been found during Rescue Excavation in 1999, has been made a lot of popular and scientific publication and its motifs have been evaluated different angles until today. In this publications suggest legend of Minos’ Bull, legend of first fliying people, legend of invention of first saw, legend of capturing thief architect and etc. It is meaningless to argue that on the one panel with different mythologies. Therefore in this paper we have again explicated iconographical the composition of Pasiphae-Daidalos and we have tried to determine a topic on this mosaic. In conclusion, on the panel has been determined that model of wood heifer is being made by Daidalos and his son Ikaros for Pasiphae’s love to the bull.

Three pieces of mosaics depicting the labors of Heracles are exhibited in Istanbul Archeological Museum. These are the scenes of Heracles slaying the Nemean Lion, capturing the Erymanthean Boar and fetching the golden apples of the Hesperides. They are here on one and the same scene, but the actual site of the pieces of the nine other labors of Heracles is unknown. The mosaic mentioned above was captured and the traffickers of antiquities were arrested in Istanbul. In 1879 the German orientalist K.E. Sachau payed a visit to the village of Belkis which is situated about 10 km. north-west of Birecik while he went from Aleppo to Urfa. He witnessed how a floor mosaic. The hunting of the Erymanthean Boar of the labors of Heracles was uncovered during illegal excavations, and he wrote to his diary of seeing the depictions. Depictions of Heracles are also seen on the mosaics of Antioch. But the depiction of the mosaic of Heracles in Zeugma is unknown, except for Sachau´s observation and mentioning of the Zeugma mosaics. The depic- tions of Heracles are common in sculptures and seal engravings (glyptik) of Zeugma. The dexiosis relief (stele) showing the King of Antiochus I shaking hands with Heracles and the relief of resting Heracles were found at the rescue excavations in Zeugma. In addition, there are many depictions of Heracles on the seal impressions found in Zeugma. Max von Oppenheim pointed out that there had been found in-situ mosaic in Birecik. It was the only one in-situ mosaic ever found in Birecik city. Other mosaics that are on the tresholds and the ground of the windows in the old house of Birecik were bought there from Zeugma according to the information given by the residents. The mosaic in Istanbul Archaeological Museum is similar to the mosaic that was seen by Sachau in Belkis Village. It is also similar in style and period to the Zeugma mosaics. Owing to illegal excavations carried out in Zeugma since 1873, many mosaics were scattered to many museums and private collections. The pieces of mosaics that are depictions the labors of Heracles in Istanbul Archaeological Museum were probably stolen from Zeugma. The mentioned pieces of mosaic are only among a few of the mosaic which are Zeugma has been waiting the return path.

Danae House was unearthed by my responsibility, on head of Gaziantep Museum Directorate in 2003-4 excavation. The house was named Danae owing to Danae was figured on the mosaics. Danae-Diktys mosaics were found in shallow pool (impluvium) of inner court. On this mosaics, the chest containing Danae and Perseus washed ashore on the island of Seriphos is described. Danae gets out from the box with her baby Perseus who was embraced by her, over agains pirate Diktys extends his hand to baby Perseus. One of the fisherman holds cover of the chest, the other looks at inside it. Similar scene like DanaeDiktys were find few on the other mosaics. The scene were described on the wall and vase painting. On these grounds, the Danae mosaics of Zeugma is rare. Geometrics desing mosaics are seen on the ground of perystyle, living room, resting room and latrine. The motifs of geometric mosaics are intersecting circles forming quatrefoils, row of tanged outlined with serrated fillets, shaded three-strand guilloche, meander and row of tangent four-pointed stars as saltires, with in crosslets of 5 poised tesserae. These geometric motifs are also seen on the ground mosaics of the other houses of Zeugma. Owing to location of Danae House is higher than Birecik Dam lake, its mosaics are left on-site in original rooms which they were found.

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anatolia / Anadolu is the property of Ankara University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The rhetorical device of zeugma, where one part of speech is used to yoke more than one other part of a sentence in a surprising and often ironically humorous way, can be seen as the governing figure, or the operative structural principle, of the new nature writing of the last decade or so. The new nature writing makes ironic use of the language of traditional nature writing in order to deflate the tradition's romantic and transcendental bent. We can see the tactic clearly in Robert Sullivan'sRats, which liberally borrows chapter titles and language from Thoreau'sWalden, appropriating them in the service of celebrating not some pastoral ideal like Walden Pond but a rat-filled alley in New York City. Even as the tone shifts from spiritual reverence to comic irony, the tactic shifts our focus away from the tradition's emphasis on sacred and sublime landscapes and redirects our attention to what Scott Hess has called “everyday nature.” [ABSTRACT FROM PUBLISHER]

Through the use of a traditional figure of speech, the zeugma, the author of The Shadow of the Wind establishes correspondences between the literal and figurative meanings contained in a single symbolic unit. The zeugma, then, becomes a means of generating conceptual representations of figurative meaning that would be difficult to achieve were it not for the processes of conceptual association between the symbolic units that are involved in this rhetorical device. As a result, a number of relatively unforced figurative structures are generated to reinforce the fictional world the novel describes. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Mosaic Research is the property of Uludag University, Mosaic Research Center and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Three pieces of mosaics depicting the labors of Heracles are exhibited in Istanbul Archeological Museum. These are the scenes of Heracles slaying the Nemean Lion, capturing the Erymanthean Boar and fetching the golden apples of the Hesperides. They are here on one and the same scene, but the actual site of the pieces of the nine other labors of Heracles is unknown. The mosaic mentioned above was captured and the traffickers of antiquities were arrested in Istanbul. In 1879 the German orientalist K.E. Sachau payed a visit to the village of Belkis which is situated about 10 km. north-west of Birecik while he went from Aleppo to Urfa. He witnessed how a floor mosaic. The hunting of the Erymanthean Boar of the labors of Heracles was uncovered during illegal excavations, and he wrote to his diary of seeing the depictions. Depictions of Heracles are also seen on the mosaics of Antioch. But the depiction of the mosaic of Heracles in Zeugma is unknown, except for Sachau's observation and mentioning of the Zeugma mosaics. The depictions of Heracles are common in sculptures and seal engravings (glyptik) of Zeugma. The dexiosis relief (stele) showing the King of Antiochus I shaking hands with Heracles and the relief of resting Heracles were found at the rescue excavations in Zeugma. In addition, there are many depictions of Heracles on the seal impressions found in Zeugma. Max von Oppenheim pointed out that there had been found in-situ mosaic in Birecik. It was the only one in-situ mosaic ever found in Birecik city. Other mosaics that are on the tresholds and the ground of the windows in the old house of Birecik were bought therefrom Zeugma according to the information given by the residents. The mosaic in Istanbul Archaeological Museum is similar to the mosaic that was seen by Sachau in Belkis Village. It is also similar in style and period to the Zeugma mosaics. Owing to illegal excavations carried out in Zeugma since 1873, many mosaics were scattered to many museums and private collections. The pieces of mosaics that are depictions the labors of Heracles in Istanbul Archaeological Museum were probably stolen from Zeugma. The mentioned pieces of mosaic are only among a few of the mosaic which are Zeugma has been waiting the return path. [ABSTRACT FROM AUTHOR]

In this study, Zeugma wall paintings and related materials including sediment and stone/rock had been examined. Samples were examined to get their raw material characteristics, mineralogical and chemical compositions, and microstructural properties using various analytical techniques. Sediments were calcereous soils of Eocene. Rock types of stones were mainly limestone which had 3 subgroups: micritic, biomicritic and recrytallised micritic limestones. The source of the limestones should be from the local formation. Binder of mortar samples were lime, aggregate materials come from the river deposites of Euphrates. Mural painting samples have different layers; pigment layer at the top, intonaco layer underneat, and single or double rather coarse grained arriccio layer(s) below intonaco layer. The mural painting technique was fresco technique. Calcite was common mineral identified for all pigments of different colours. The sources of white, black and green coloured pigments were found as vaterite, graphite and malachite respectively. The sources of yellow coloured pigments were identified as ankerite, siderite and goethite. The red colours were identified as hematite, jasper and red earth/ochre. Jasper and vaterite, jasper and calcite, red earth/ochre and calcite, and hematite were the colour forming minerals of pink coloured pigments. [ABSTRACT FROM AUTHOR]

Danae House was unearthed by my responsibility, on head of Gaziantep Museum Directorate in 2003-4 excavation. The house was named Danae owing to Danae was figured on the mosaics. Danae-Diktys mosaics were found in shallow pool (impluvium) of inner court. On this mosaics, the chest containing Danae and Perseus washed ashore on the island of Seriphos is described. Danae gets out from the box with her baby Perseus who was embraced by her, over agains pirate Diktys extends his hand to baby Perseus. One of the fisherman holds cover of the chest: the other looks at inside it. Similar scene like Danae- Diktys were find few on the other mosaics. The scene were described on the wall and vase painting. On these grounds, the Danae mosaics of Zeugma is rare. Geometries desing mosaics are seen on the ground of perystyle, living room, resting room and latrine. The motifs of geometric mosaics are intersecting circles forming quatrefoils, row of tanged outlined with serrated fillets, shaded three-strand guilloche, meander and row of tangent four-pointed stars as saltires, with in crosslets of 5 poised tesserae. These geometric motifs are also seen on the ground mosaics of the other houses of Zeugma. Owing to location of Danae House is higher than Birecik Dam lake, its mosaics are left on-site in original rooms which they were found. [ABSTRACT FROM AUTHOR]

Since 1989, Turkey's Southeast Anatolia Project has constructed a dozen large dams on the Tigris and Euphrates, flooding hundreds of kilometers of river valley and inundating thousands of archaeological sites. Paradoxically, archaeology was used as an argument both for and against dam construction. Dam opponents insisted that sites would be destroyed, while proponents argued that dam construction provided funding for salvage archaeology. Non-archaeologists dominated the discussion, while archaeologists generally avoided political stances. In my examination of two case studies, I argue that each of these positions reflects a different conception of the social role of archaeology, identify which were the most politically effective, and explore the lessons of the GAP project for situations where archaeology is heavily politicized. Finally, I offer suggestions on how archaeologists can transform their ethical guidelines into decision-making tools. [ABSTRACT FROM AUTHOR]