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Famous artists are given dinosaur-inspired pseudonyms and prehistoric biographies as a way of introducing young readers to art history in a fun and inviting new way in Jurassic Classics: The Prehistoric Masters of Art Volume 2. The book features an assortment of artist biographies, each with a prehistoric twist. Artists Pablo Picassotego, Frid Kahlopholus, and Andy Warholosaurus get "dino" histories, with a clever parody of the real artist's most famous sketches and paintings included. Accurate biographies of the real-life artists are included, as well. Endearing illustrations and humorous dinosaur mashups provide young readers with a foundation for art history, as well as inspiring them to learn more.
"Famous literary figures are given dinosaur-inspired pseudonyms and prehistoric biographies as a way of introducing young readers to classic literature"--
Using dinosaur mashups as a creative way to introduce art history, The Prehistoric Masters of Art explores the lives of the famous "masters" of our past. Jurassic Classics: The Prehistoric Masters of Art uses prehistoric dinosaur humor to introduce young readers to art history in a fun and inviting new way. The Prehistoric Masters of Art features an assortment of artist biographies, each with a "prehistoric" twist, such as Leonardo da Vilociraptor, Vincent van Guanadon, and Frida Kahlopholus. After a brief "dino" history of each artist, a clever parody of his or her most famous sketches and paintings is included, as well as a true-to-life biography, with actual facts and descriptions about the life of each artist.
Famous literary figures are given dinosaur-inspired pseudonyms and prehistoric biographies as a way of introducing young readers to classic literature in a fun and inviting new way in Jurassic Classics: The Prehistoric Masters of Literature Volume 2. The book features an assortment of author biographies, each with a prehistoric twist. Mark Twainceratops, Charles Dickensodocus, and Jane Austenlovenator get "dino" histories, with a clever parody of one of their classic works included. Accurate biographies of the real-life authors are included, as well. Endearing illustrations and humorous dinosaur mashups provide young readers with a foundation for art history, as well as inspiring them to learn more.
Advances in Archaeological Method and Theory, Volume 8 is a collection of papers that discusses postprocessual archaeology, bone technology, and tree-ring dating in Eastern North America. One paper discriminates between the process and norm, and eliminates the dichotomy by locating human agency and the active. It focuses on monitoring individuals as being in the center of social theory. Another paper discuses the physical model and the textual model that describe the basic components of an archaeological record. For example, the first model implies that archaeological inferences move from material components of the record to material phenomena in the past. The second model assumes that archaeological inference should move from material phenomena to mental phenomena, from material symbols to the ideas and beliefs they encode. Another paper explains the use of analogy as a useful tool in archaeological considerations. One paper investigates bones as a material for study, including the analysis of carnivore-induced fractures or hominid-induced modifications from using bones as tools. The collection is suitable for sociologists, anthropologist, professional or amateur archaeologists, and museum curators studying archaeological artifacts.
An examination of how modern art was impacted by the concept of prehistory and the prehistoric Prehistory is an invention of the late nineteenth century. In that moment of technological progress and acceleration of production and circulation, three major Western narratives about time took shape. One after another, these new fields of inquiry delved into the obscure immensity of the past: first, to surmise the age of the Earth; second, to find the point of emergence of human beings; and third, to ponder the age of art. Maria Stavrinaki considers the inseparability of these accounts of temporality from the disruptive forces of modernity. She asks what a history of modernity and its art would look like if considered through these three interwoven inventions of the longue durée. Transfixed by Prehistory attempts to articulate such a history, which turns out to be more complex than an inevitable march of progress leading up to the Anthropocene. Rather, it is a history of stupor, defamiliarization, regressive acceleration, and incessant invention, since the “new” was also found in the deep sediments of the Earth. Composed of as much speed as slowness, as much change as deep time, as much confidence as skepticism and doubt, modernity is a complex phenomenon that needs to be rethought. Stavrinaki focuses on this intrinsic tension through major artistic practices (Cézanne, Matisse, De Chirico, Ernst, Picasso, Dubuffet, Smithson, Morris, and contemporary artists such as Pierre Huyghe and Thomas Hirschhorn), philosophical discourses (Bataille, Blumenberg, and Jünger), and the human sciences. This groundbreaking book will attract readers interested in the intersections of art history, anthropology, psychoanalysis, mythology, geology, and archaeology.