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This collection of texts is a first step towards providing a theoretical and methodological platform for the study of social encounters. The social encounter is a particular sort of concept, focusing on confusion, tension, trauma, and possibly social change that may emerge in situations of contact when people and things interact. A social encounter is, however, not only about negotiation or contemplating existence, but is rather about what happens when people interact actively, when they involve themselves with people and materialities, when they move around, fetch things, use things, leave things etc. The repeated social encounter is often a confrontation with something, such as an opinion, a performance, or with materialities and the effects are often unpredictable. Encounters may reproduce a social pattern, but also contain potential for transformation and change. Such varied responses to encounters will certainly have effects on the archaeological record. The primary focus of the volume is the effects and processes involved in intra- and inter-societal encounters. The collection hence fills a theoretical and methodological gap in the study of the encounter in archaeology. There is a need for elaborating aspects of postcolonial theory in order to develop new ways of approaching the archaeological record. The articles of this volume include examples from various regions and time periods. They range from Scandinavian Stone Age, through Buddhist social practices of the first millennium AD, Maya warfare and ideology, to Aboriginal-European encounters in 20th century Australia.Per Cornell (PhD, Ass. Prof.) is currently lecturer at the Department of archaeology, University of Gothenburg. Cornell has been involved in extensive field-work in Latin America and current research topics include settlement archaeology, formation processes and social theory. Among his recent books are Local, Regional, Global, co-edited with Per Stenborg (Gotarc, 2004).
Contemporary scholarly discourses about decolonising materialities are taking two noticeable trajectories, the first trajectory privileges establishing “connections”, “relationships” and “associations” between human beings and nature. The second trajectory privileges restoration, restitution, reparations for colonial dispossessions, lootings and disinheritance. While the first trajectory presupposes that colonialism was merely about “separation”, “alienation”, and “disconnections” between human beings and nature, the second trajectory stresses the colonialists’ dispossession, disinheritance and privations of Africans. Drawing on contemporary discourses about materialities in relation to semiotics, (non-)representationalism, rhetoric, ecocriticism, territorialisation, deterritorialisation and reterritorialisation, translation, animism, science and technology studies, this book teases out the intellectually rutted terrain of African materialities. It argues that in a world of increasing impoverishment, the significance of materialities cannot be overemphasised: more so for the continent of Africa where impoverishment “materialises” in the midst of resource opulence. The book is a pacesetter in no holds barred interrogation of African materialities.
This text develops a new perspective on Late Bronze Age (LBA) Ireland by identifying and analysing patterns of ritual practice in the archaeological record. The bookends of this study are the introduction of the bronze slashing sword to Ireland at around 1200 BC and the introduction and proliferation of iron technology beginning around 600 BC.
Moche murals of northern Peru represent one of the great, yet still largely unknown, artistic traditions of the ancient Americas. Created in an era without written scripts, these murals are key to understandings of Moche history, society, and culture. In this first comprehensive study on the subject, Lisa Trever develops an interdisciplinary methodology of “archaeo art history” to examine how ancient histories of art can be written without texts, boldly inverting the typical relationship of art to archaeology. Trever argues that early coastal artistic traditions cannot be reduced uncritically to interpretations based in much later Inca histories of the Andean highlands. Instead, the author seeks the origins of Moche mural art, and its emphasis on figuration, in the deep past of the Pacific coast of South America. Image Encounters shows how formal transformations in Moche mural art, before and after the seventh century, were part of broader changes to the work that images were made to perform at Huacas de Moche, El Brujo, Pañamarca, and elsewhere in an increasingly complex social and political world. In doing so, this book reveals alternative evidentiary foundations for histories of art and visual experience.
Travellers in Time re-evaluates the extent to which the earliest Mediterranean civilizations were affected by population movement. It critiques both traditional culture-history-grounded notions of movement in the region as straightforwardly transformative, and the processual, systemic models that have more recently replaced this view, arguing that newer scholarship too often pays limited attention to the specific encounters, experiences and agents involved in travel. By assessing a broad range of recent archaeological and ancient textual data from the Aegean and central and east Mediterranean via five comprehensive studies, this book makes a compelling case for rethinking issues such as identity, agency, materiality and experience through an understanding of movement as transformative. This innovative and timely study will be of interest to advanced undergraduates, postgraduate students and scholars in the fields of Aegean/Mediterranean prehistory and Classical archaeology, as well as anyone interested in ancient Aegean and Mediterranean culture.
These “Thin Partitions” explores the intellectual and methodological differences that separate two of the four subdisciplines within the field of anthropology: archaeology and cultural anthropology. Contributors examine the theoretical underpinnings of this separation and explore what can be gained by joining them, both in university departments and in field research. In case studies highlighting the benefits of interdisciplinary collaboration, contributors argue that anthropologists and archaeologists are simply not “speaking the same language” and that the division between fields undermines the field of anthropology as a whole. Scholars must bridge this gap and find ways to engage in interdisciplinary collaboration to promote the health of the anthropological discipline. By sharing data, methods, and ideas, archaeology and cultural anthropology can not only engage in more productive debates but also make research accessible to those outside academia. These “Thin Partitions” gets to the heart of a well-known problem in the field of anthropology and contributes to the ongoing debate by providing concrete examples of how interdisciplinary collaboration can enhance the outcomes of anthropological research. Contributors: Fredrik Fahlander, Lilia Fernández Souza, Kent Fowler, Donna Goldstein, Joseph R. Hellweg, Derek Johnson, Ashley Kistler, Vincent M. LaMotta, John Monaghan, William A. Parkinson, Paul Shankman, David Small
This volume marks a significant departure from previous symbolic approaches in post-processual archaeology, bringing together key scholars advancing a variety of cutting edge approaches to chart a new direction in material culture studies.
A consideration of the rock art of the Mälaren bay region exploring the potential efficacy of petroglyphs as physical devices through organization, design, and articulation. The Bronze Age (1700–500 BCE) petroglyphs of southern Scandinavia comprise a unique tradition of rock art in northern Eurasia. Despite a limited repertoire of motifs such as cupmarks, boats, anthropomorphs, zoomorphs, podomorphs and circles, it shows great variability in design, elaboration and articulation. This book is a study of the Mälaren region in southern-central Sweden that includes one of the most prominent rock art clusters of southwest Uppland as well as the hinterland of Södermanland county. The rock art in this region is studied on three scales: regional, local and particular. This allows for comparisons between dense and small sites, an exploration of how the Bronze Age rock art tradition developed over time in the area, and equally how the design and articulation of certain motifs relate to contemporary settlements, waterways and varying environmental settings. Patterns and structures in the distribution and articulation of the petroglyphs show that the different motifs are not only visual expressions but very much material enactments. The motifs often physically relate to each other, the flows of water, and the microtopography and mineral contents of the rocks. The study is therefore not as much about rock art as images and symbols as it is about the ecology of rock art – the web of social and physical relations in which it was enacted and employed. From this perspective, the petroglyphs are seen as petrofacts, that is something akin to tools or devices articulated in various ways to affect humans, other-than-humans and the animacies of the coastal milieus where they were made.