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An illustrated collection that takes stock of current knowledge and proposes a new way of reading indigenous art For thousands of years, nomadic hunter-gatherers assigned a fundamental role to the visualization of the animals who shared their lives. Some, such as the Cape eland, the largest of antelopes, were the object of a fascinated gaze, as though the graceful markings and shapes of their bodies were the key to secret knowledge safeguarded by the animals’ unsettling silence. Renaud Ego posits that the artists sought to steal the animals’ secret through an act of rendering visible a vitality that remained hidden beneath appearances. In this process, the San themselves became the visionary animal who, possessing the gift of making pictures, would acquire far-seeing powers. Thanks to the singular effectiveness of their visual art, they could make intellectual contact with the world in order better to think and,ultimately, to act. They gained access to the full dimension of their human condition through painting scenes that functioned like visual contracts with spiritual and ancestral powers. Their art is an act that seeks to preserve the wholeness of existence through a respect for the relationships linking all beings, both real and imaginary,who partake of it. The fundamentally ecological dimension of this message confers on San art its universality and contemporary relevance.Visionary Animal is a translation of L’Animal voyant, published in France in 2015. This rich collection of essays is beautifully illustrated with the author’s photographs of rock art from across southern Africa.
J. David Lewis-Williams is world renowned for his work on the rock art of Southern Africa. In this volume, Lewis-Williams describes the key steps in his evolving journey to understand these images painted on stone. He describes the development of technical methods of interpreting rock paintings of the 1970s, shows how a growing understanding of San mythology, cosmology, and ethnography helped decode the complex paintings, and traces the development of neuropsychological models for understanding the relationship between belief systems and rock art. The author then applies his theories to the famous rock paintings of prehistoric Western Europe in an attempt to develop a comprehensive theory of rock art. For students of rock art, archaeology, ethnography, comparative religion, and art history, Lewis-Williams' book will be a provocative read and an important reference.
Drawing on evidence from across the behavioural and natural sciences, this book advances a radical new hypothesis: that madness exists as a costly consequence of the evolution of a sophisticated social brain in Homo sapiens. Having explained the rationale for an evolutionary approach to psychosis, the author makes a case for psychotic illness in our living ape relatives, as well as in human ancestors. He then reviews existing evolutionary theories of psychosis, before introducing his own thesis: that the same genes causing madness are responsible for the evolution of our highly social brain. Jonathan Burns’ novel Darwinian analysis of the importance of psychosis for human survival provides some meaning for this form of suffering. It also spurs us to a renewed commitment to changing our societies in a way that allows the mentally ill the opportunity of living. The Descent of Madness will be of interest to those in the fields of psychiatry, psychology, sociology and anthropology, and is also accessible to the general reader.
Analyses texts drawn from the Bleek and Lloyd Archive, arguably one of the most important collections for the understanding of South African cultural heritage and in particular the traditions of the /Xam, South Africas first people. Initially appearing in a now rare 1986 edition and here re-issued for the first time, the doctoral thesis on which the book is based became the catalyst for much scholarly research. The book offers an analysis of the entire corpus of /Xam narratives found in the Bleek and Lloyd collection, focusing particularly on the cycle of narratives concerning the trickster /Kaggen (Mantis). These are examined on three levels from the 'deep structures' with resonances in other areas of /Xam culture and supernatural belief, through the recurring patterns of narrative composition apparent across the cycle and finally touching on the observable differences in the performances by the various /Xam collaborators. Hewitt's text remains the only comprehensive and detailed study of /Xam narrative, and it has become itself the object of study by researchers and PhD candidates in South Africa, the United Kingdom, Canada and elsewhere. This new edition at last makes Hewitt's important work more widely available. It will be a welcome addition to the recently burgeoning literature on the place of the /Xam hunter-gatherers in the complex history of South African culture and society.
Every site that is inscribed on the World Heritage List (WHL) must have a management plan or some other management system. According to the UNESCO Operational Guidelines, the purpose of a management plan is to ensure the effective protection of the nominated property for present and future generations. This requirement was in part necessitated by the need to implement real systems of monitoring on the management of World Heritage Sites. Since its implementation in 2005, discussion on the function and the contents of management plans for World Heritage Sites has grown tremendously. The discussions have mainly been focused on the theoretical frameworks of World Heritage site management plans and proposals of practical guidelines for their implementation. This volume provides a platform for heritage practitioners, especially those working at Cultural World Heritage Sites, to put in writing their experiences and impressions about the implementation of site management plans at properties that are inscribed on the WHL. Cultural World Heritage Sites in this case refer to world heritage properties such as archaeological sites, cultural landscapes, religious sites and architectural structures. The book also seeks to examine the extent to which site management plans have been or are being implemented at Cultural World Heritage Sites.
This book offers a unique interdisciplinary challenge to assumptions about animals and animality deeply embedded in our own ways of thought, and at the same time exposes highly sensitive and largely unexplored aspects of the understanding of our common humanity.
Cutting edge contributions that consider new approaches to the documentation of rock art; its interpretation using indigenous knowledge; and the presentation of rock art. This volume contains contributions that consider new approaches to three areas: the documentation of rock art; its interpretation using indigenous knowledge; and the presentation of rock art. Working with Rock Art is the first edited volume to consider each of these areas in a theoretical rather than a technical fashion, and it therefore makes a significant contribution to the discipline. The volume aims to promote the sharing of new experiences between leading researchers in the field. While the geographic focus is truly global, there is a dominant north-south axis with strong representation from researchers in southern Africa and northern Europe, two leading centres for new approaches in rock art research. Working with Rock Art opens up a long overdue dialogue about shared experiences between these two centres, and a number of the chapters are the first published results of new collaborative research. Since this volume covers the recording, interpretation and presentation of rock art, it will attract a wide audience of researchers, heritage managers and students, as well as anyone interested in the field of rock art studies.