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Popular archaeology is a heterogeneous phenomenon: Focusing on the German archaeologist Heinrich Schliemann, Egyptian mummies, and the ruin complex Great Zimbabwe in fictional and factual texts, Susanne Duesterberg analyses the popular reception of archaeology in Victorian and Edwardian Britain. She offers an interdisciplinary and comparative view on the reception of the different archaeologies, reflecting contemporary sociocultural concerns in connection with identity formation. With its focus on popular culture as well as identity and memory studies, the book appeals to both a general public and experts from various disciplines.
This book is an enthusiastic celebration of the ways in which popular culture has consumed aspects of the ancient Near East to construct new realities. The editors have brought together an impressive line-up of scholars-archaeologists, philologists, historians, and art historians-to reflect on how objects, ideas, and interpretations of the ancient Near East have been remembered, constructed, reimagined, mythologized, or indeed forgotten within our shared cultural memories. The exploration of cultural memories has revealed how they inform the values, structures, and daily life of societies over time. This is therefore not a collection of essays about the deep past but rather about the stories we tell ourselves about ourselves.
This collection of essays is not interested in the unresolved questions about the origin, original use, and authentic meaning of the prehistoric monuments of the British Isles. It is not concerned with their prehistory. Rather it deals with the history of barrows, standing stones, and stone circles: with the ways in which they have been viewed, the meanings that have been attributed to them, and the significant impact that they have had over the centuries on British life and culture – from motivating artists, authors, musicians and film-makers to inspiring ‘New Age’ religions. It is thus as interested in stones commonly believed to be megaliths – like the foundation stones of the chapel in the Dartmoor village of South Zeal – as in ‘real’ remains. In her recent study of Stonehenge, the historian Rosemary Hill asserted: ‘Stonehenge does not belong to archaeology, or not to archaeology alone’. Likewise, this book is not written primarily for archaeologists – or not for the interest of archaeologists alone. It will also be of interest to social and cultural historians, to those interested in fine art, literature or film, and to anyone fascinated by the construction of national, local, or counter-cultural identities. It should also intrigue anybody who lives near one of the thousands of prehistoric remains that add beauty and mystery to Britain’s countryside. The book surveys over eight hundred years of rediscovery, study, superstition, inspiration, fear, restoration, and destruction, investigating how different generations saw their own anxieties, beliefs and concerns reflected in the mysterious lives of the prehistoric builders. By discussing the many different ways in which prehistoric remains have been treated in different periods, the book interrogates any notion of objective approaches to archaeology. Instead, it asserts that what we think of as ‘the past’ is in fact multiple and man-made. Thus, if we are to effectively interpret and fully understand the prehistoric remains of the past, a variety of disciplines and a range of approaches – both traditional and unconventional – will need to work together. For this reason, this book has been produced as a jointly-authored text – a collaboration between archaeologists, folklorists, historians, journalists, and literary critics.
Although there are many works dealing with Pompeii and Herculaneum, none of them try to encompass the entire spectrum of material related to its reception in popular imagination. Pompeii’s Ashes surveys a broad variety of such works, ranging from travelogues between ca. 1740 and 2010 to 250 years of fiction, including stage works, music, and films. The first two chapters provide an in-depth analysis of the excavation history and an overview of the reflections of travelers. The six remaining chapters discuss several clearly-defined genres: historical novels with pagan tendencies, and those with Christians and Jews as protagonists, contemporary adventures, time traveling, mock manuscripts, and works dedicated to Vesuvius. “Pompeii’s Ashes” demonstrates how the eternal fascination with the oldest still-running archaeological projects in the world began, developed, and continue until now.
This collection, stemming from the 2nd University of Chester Archaeology Student Conference 'Archaeo-Engage: Engaging Communities in Archaeology' (April 2017), provides original perspectives on public archaeology’s current practices and future potentials focusing on art/archaeological media, strategies and subjects.
The Routledge Handbook of Archaeology and the Media in the 21st Century presents diverse international perspectives on what it means to be an archaeologist and to conduct archaeological research in the age of digital and mobile media. This volume analyses the present‐day use of new and old media by professional and academic archaeology for leisure, academic study and/or public engagement, and attempts to provide a broad survey of the use of media in a wider global archaeological context. It features work on traditional paper media, radio, podcasting, film, television, contemporary art, photography, video games, mobile technology, 3D image capture, digitization and social media. Themes explored include archaeology and traditional media, archaeology in a digital age, archaeology in a post‐truth era and the future of archaeology. Such comprehensive coverage has not been seen before, and the focus on 21st‐century concerns and media consumption practices provides an innovative and original approach. The Routledge Handbook of Archaeology and the Media in the 21st Century updates the interdisciplinary field of media studies in archaeology and will appeal to students and researchers in multiple fields including contemporary, public, digital, and media archaeology, and heritage studies and management. Television and film producers, writers and presenters of cultural heritage will also benefit from the many entanglements shared here between archaeology and the contemporary media landscape.
Archaeologists in Print is a history of popular publishing in archaeology in the nineteenth and twentieth centuries, a pivotal period of expansion and development in both archaeology and publishing. It examines how British archaeologists produced books and popular periodical articles for a non-scholarly audience, and explores the rise in archaeologists’ public visibility. Notably, it analyses women’s experiences in archaeology alongside better known male contemporaries as shown in their books and archives. In the background of this narrative is the history of Britain’s imperial expansion and contraction, and the evolution of modern tourism in the Eastern Mediterranean and Middle East. Archaeologists exploited these factors to gain public and financial support and interest, and build and maintain a reading public for their work, supported by the seasonal nature of excavation and tourism. Reinforcing these publishing activities through personal appearances in the lecture hall, exhibition space and site tour, and in new media – film, radio and television – archaeologists shaped public understanding of archaeology. It was spadework, scripted. The image of the archaeologist as adventurous explorer of foreign lands, part spy, part foreigner, eternally alluring, solidified during this period. That legacy continues, undimmed, today. Praise for Archaeologists in Print This beautifully written book will be valued by all kinds of readers: you don't need to be an archaeologist to enjoy the contents, which take you through different publishing histories of archaeological texts and the authors who wrote them. From the productive partnership of travel guide with archaeological interest, to the women who feature so often in the history of archaeological publishing, via closer analysis of the impact of John Murray, Macmillan and Co, and Penguin, this volume excavates layers of fascinating facts that reveal much of the wider culture of the late nineteenth and twentieth centuries. The prose is clear and the stories compulsive: Thornton brings to life a cast of people whose passion for their profession lives again in these pages. Warning: the final chapter, on Archaeological Fictions, will fill your to-be-read list with stacks of new titles to investigate! This is a highly readable, accessible exploration into the dynamic relationships between academic authors, publishers, and readers. It is, in addition, an exemplar of how academic research can attract a wide general readership, as well as a more specialised one: a stellar combination of rigorous scholarship with lucid, pacy prose. Highly recommended!' Samantha Rayner, Director of UCL Centre for Publishing; Deputy Head of Department and Director of Studies, Department of Information Studies, UCL
Select proceedings of the 5th University of Chester Archaeology Student Conference (31 January 2020) reflect on the shifting and conflicting meanings, values and significances for treasure in archaeology’s public engagements, interactions and manifestations.
Archaeology is a way of acting and thinking—about what is left of the past, about the temporality of what remains, about material and temporal processes to which people and their goods are subject, about the processes of order and entropy, of making, consuming and discarding at the heart of human experience. These elements, and the practices that archaeologists follow to uncover them, is the essence of the archaeological imagination. In this extended essay, renowned archaeological theorist Michael Shanks offers his colleagues and students a window on this imaginative world of past and present and the creative role archaeology can play in uncovering it, analyzing it, and interpreting it.
This book provides a broad overview of the key concepts in public archaeology, a research field that examines the relationship between archaeology and the public, in both theoretical and practical terms. While based on the long-standing programme of undergraduate and graduate teaching in public archaeology at UCL’s renowned Institute of Archaeology, the book also takes into account the growth of scholarship from around the world and seeks to clarify what exactly ‘public archaeology’ is by promoting an inclusive, socially and politically engaged vision of the discipline. Written for students and practitioners, the individual chapters provide textbook-level introductions to the themes, theories and controversies that connect archaeology to wider society, from the trade in illicit antiquities to the use of digital media in public engagement, and point readers to the most relevant case studies and learning resources to aid their further study. This book was produced as part of JISC's Institution as e-Textbook Publisher project. Find out more athttps://www.jisc.ac.uk/rd/projects/institution-as-e-textbook-publisher Praise for Key Concepts in Archaeology 'Littered throughout with concise and well-chosen case studies, Key Concepts in Public Archaeology could become essential reading for undergraduates and is a welcome reminder of where archaeology sits in UK society today.' British Archaeology