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Andrew Rogerson is one of the most important and influential archaeologists currently working in East Anglia. This collection will be essential reading for those interested in the history and archaeology of Norfolk and Suffolk, in the interpretation of artefacts within their landscape contexts, and in the material culture of the Middle Ages.
Rock-art - the ancient images which still scatter the rocky landscapes of Europe - is a singular kind of archaeological evidence. Fixed in place, it does not move about as artefacts as trade objects do. Enigmatic in its meaning, it uniquely offers a direct record of how prehistoric Europeans saw and envisioned their own worlds. European Landscapes of Rock-Art provides a number of case studies, covering arange of European locations including Ireland, Italy, Scandinavia, Scotland and Spain, which collectively address the chronology and geography of rock-art as well as providing an essential series of methodologies for future debate. Each author provides a synthesis that focuses on landscape as an essential part of rock-art construction. From the paintings and carved images of prehistoric Scandinavia to Second World War grafitti on the German Reichstag, this volume looks beyond the art to the society that made it. The papers in this volume also challenge the traditional views of how rock-art is recorded. Throughout, there is an emphasis on informal and informed methodologies. The authors skilfully discuss subjectivity and its relationship with landscape since personal experience, from prehistoric times to the present day, plays an essential role in the interpretation of art itself. The emphasis is on location, on the intentionality of the artist, and on the needs of the audience. This exciting volume is a crucial addition to rock-art literature and landscape archaeology. It will provide new material for a lively and greatly debated subject and as such will be essential for academics, non-academics and commentators of rock art in general.
A companion to The Archaeology of Rock-Art (Cambridge 1998), this new collection edited by Christopher Chippindale and George Nash addresses the most important component around the rock-art panel - its landscape. The Figured Landscapes of Rock-Art draws together the work of many well-known scholars from key regions of the world for rock-art and for rock-art research. It provides a unique, broad and varied insight into the arrangement, location, and structure of rock-art and its place within the landscapes of ancient worlds as ancient people experienced them. Packed with illustrations, as befits a book about images, The Figured Landscapes of Rock-Art offers a visual as well as a literary key to the understanding of this most lovely and alluring of archaeological traces.
Social and behavioral scientists study religion or spirituality in various ways and have defined and approached the subject from different perspectives. In cultural anthropology and archaeology the understanding of what constitutes religion involves beliefs, oral traditions, practices and rituals, as well as the related material culture including artifacts, landscapes, structural features and visual representations like rock art. Researchers work to understand religious thoughts and actions that prompted their creation distinct from those created for economic, political, or social purposes. Rock art landscapes convey knowledge about sacred and spiritual ecology from generation to generation. Contributors to this global view detail how rock art can be employed to address issues regarding past dynamic interplays of religions and spiritual elements. Studies from a number of different cultural areas and time periods explore how rock art engages the emotions, materializes thoughts and actions and reflects religious organization as it intersects with sociopolitical cultural systems.
A selection of 18 papers from an international conference in Milan, June 1987, organized by the Standing Conference on Organizational Symbolism. Details how corporate artifacts are invested with meaning, are related to control, and can be used as cultural indicators in research. Among the topics are office design, housing modifications, computer systems, and the space shuttle. Fairly devoid of specialist jargon.
Researchers in landscape archaeology use two different definitions of landscape. One definition (landscape as territory) is used by the processual archaeologists, earth scientists, and most historical geographers within this volume. By contrast, post-processual archaeologists, new cultural geographers and anthropologists favour a more abstract definition of landscape, based on how it is perceived by the observer. Both definitions are addressed in this book, with 35 papers that are presented here and that are divided into six themes: 1) How did landscape change?; 2) Improving temporal, chronological and transformational frameworks; 3) Linking landscapes of lowlands with mountainous areas; 4) Applying concepts of scale; 5) New directions in digital prospection and modelling techniques, and 6) How will landscape archaeology develop in the future? This volume demonstrates a worldwide interest in landscape archaeology, and the research presented here draws upon and integrates the humanities and sciences. This interdisciplinary approach is rapidly gaining support in new regions where such collaborations were previously uncommon.
The Ritidian Site in Guam reveals the full scope of traditional cultural heritage in the Mariana Islands since 1500 B.C. The material records here have been incorporated into a cohesive narrative in chronological order to learn about the profound heritage of this special site and its larger research contributions.
The contributors to this volume take advantage of the diversity of landscape archaeology to examine the link to heritage, the impact on our understanding of temporality, and the situated theory that arises out of landscape studies, using examples from New York to Northern Ireland, Africa to the Argolid.
The understanding and interpretation of ancient architecture, landscapes, and art has always been viewed through an iconographic lens—a cognitive process based on traditional practices in art history. But ancient people did not ascribe their visions on canvas, rather on hills, stones, and fields. Thus, Chris Tilley argues, the iconographic approach falls short of understanding how ancient people interacted with their imagery. A kinaesthetic approach, one that uses the full body and all the senses, can better approximate the meaning that these artifacts had for their makers and today’s viewers. The body intersects the landscape in a myriad of ways—through the effort to reach the image, the angles that one can use to view, the multiple senses required for interaction. Tilley outlines the choreographic basis of understanding ancient landscapes and art phenomenologically, and demonstrates the power of his thesis through examples of rock art and megalithic architecture in Norway, Ireland, and Sweden. This is a powerful new model from one of the leading contemporary theorists in archaeology.
The Archaeology and Anthropology of Landscape contributes to the development of theory in archaeology and anthropology, provides new and varied case studies of landscape and environment from five continents, and raises important policy issues concerning development and the management of heritage.