In archaeology, a sherd, or more precisely, potsherd, is commonly a historic or prehistoric fragment of pottery, although the term is occasionally used to refer to fragments of stone and glass vessels as well.
Occasionally, a piece of broken pottery may be referred to as a shard. While the spelling shard is generally reserved for referring to fragments of glass vessels the term does not exclude pottery fragments. The etymology is connected with the idea of breakage, from Old English sceard, related to Old Norse skarth, "notch", and Middle High German scharte, "notch".
A sherd or potsherd that has been used by having writing painted or inscribed on it can be more precisely referred to as an ostracon.
The analysis of sherds is widely used by archaeologists to date sites and develop chronologies, due to their diagnostic characteristics and high resistance to natural, destructive processes. Some characteristics of sherds useful to archaeologists include temper, form, and glaze. These characteristics can be used to determine the kinds of resources and technologies used at the site.
Sherds (“fragments of pottery” or "potsherds") is a 2007 short novel or novelette written by Filipino National Artist for Literature and multi-awarded author F. Sionil José. According to Elmer A. Ordoñez, a writer from The Manila Times, in Sherds José achieved “lyrical effects”, specially in the novel’s final chapters, by putting into “good use” Joseph Conrad’s and Ford Madox Ford’s so-called progression d’effet (literally "progression of the effect"). Sherds is the latest and last novel by José. According to The Atlantic National Correspondent James Fallows, the novel is dedicated to the author’s wife Teresita José. The novel, which can be read in one sitting, was described by Li-an de la Cruz-Busto, a reporter for Sun.Star Davao as “very light but candid and insightful”, a description that complements The Manila Times reporter Perry Gil S. Mallari’s calling José’s Sherds as an “easy read and a guaranteed page-turner”. A novel composed of twelve chapters with a "tight and palpable" narrative pacing, Sherds deals with topics related to "personal conscience, greed and the position of art" in social class struggle, thus serving as a cogitation on "what is wrong" with the Philippines as a nation. José wrote Sherds while he was in Japan.
(Eddy De Heer)
Je suis, tu es, il est, nous sommes, vous êtes aimables.
Je suis, tu es, il est, vous êtes, nous sommes heureux.
Je suis, tu es, il est, vous êtes très véritables.
Je suis, tu es, vous êtes, nous sommes très amoureux.
Zij was de knappe assistente van onze ouwe leraar Frans.
Ze was echt een française, kreeg hier in Nederland haar kans.
Wanneer de ouwe leraar weg was, nam zij de lessen voor hem maar.
Want iedereen was verliefd op haar.
Je suis, tu es, il est, nous sommes, vous êtes aimables.
Je suis, tu es, il est, vous êtes, nous sommes heureux.
Je suis, tu es, il est, vous êtes très véritables.
Je suis, tu es, vous êtes, nous sommes très amoureux.
Wanneer een andere leraar les gaf, ging alles in de klas verkeerd.
Want in de klas was er? en niemand had zijn les geleerd.
Maar kwam die Franse assistente, dan werd het doodstil in de klas
En iedereen begon te schrijven als over? gesproken was.
Je suis, tu es, il est, nous sommes, vous êtes aimables.
Je suis, tu es, il est, vous êtes, nous sommes heureux.
Je suis, tu es, il est, vous êtes très véritables.
Je suis, tu es, vous êtes, nous sommes très amoureux.
Je suis, tu es, il est, nous sommes, vous êtes aimables.
Je suis, tu es, il est, vous êtes, nous sommes heureux.
Je suis, tu es, il est, vous êtes très véritables.