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This volume focuses on the analysis of materials, from the Neolithic and Early Bronze Age periods of Britain and Ireland, in the study of prehistoric artefacts. Challenging the assumption that materials are inert and shaped by past societies, it argues that it is rather the materials which shaped the societies.
Perishable Material Culture in Prehistory provides new approaches and integrates a broad range of data to address a neglected topic, organic material in the prehistoric record. Providing news ideas and connections and suggesting revisionist ways of thinking about broad themes in the past, this book demonstrates the efficacy of an holistic approach by using examples and cases studies. No other book covers such a broad range of organic materials from a social and object biography perspective, or concentrates so fully on approaches to the missing components of prehistoric material culture. This book will be an essential addition for those people wishing to understand better the nature and importance of organic materials as the ’missing majority’ of prehistoric material culture.
Writing as Material Practice grapples with the issue of writing as a form of material culture in its ancient and more recent manifestations, and in the contexts of production and consumption. Fifteen case studies explore the artefactual nature of writing — the ways in which materials, techniques, colour, scale, orientation and visibility inform the creation of inscribed objects and spaces, as well as structure subsequent engagement, perception and meaning making. Covering a temporal span of some 5000 years, from c.3200 BCE to the present day, and ranging in spatial context from the Americas to the Near East, the chapters in this volume bring a variety of perspectives which contribute to both specific and broader questions of writing materialities. The authors also aim to place past graphical systems in their social contexts so they can be understood in relation to the people who created and attributed meaning to writing and associated symbolic modes through a diverse array of individual and wider social practices.
Material Connections eschews outdated theory, tainted by colonialist attitudes, and develops a new cultural and historical understanding of how factors such as mobility, materiality, conflict and co-presence impacted on the formation of identity in the ancient Mediterranean. Fighting against ‘hyper-specialisation’ within the subject area, it explores the multiple ways that material culture was used to establish, maintain and alter identities, especially during periods of transition, culture encounter and change. A new perspective is adopted, one that perceives the use of material culture by prehistoric and historic Mediterranean peoples in formulating and changing their identities. It considers how objects and social identities are entangled in various cultural encounters and interconnections. The movement of people as well as objects has always stood at the heart of attempts to understand the courses and process of human history. The Mediterranean offers a wealth of such information and Material Connections, expanding on this base, offers a dynamic, new subject of enquiry – the social identify of prehistoric and historic Mediterranean people – and considers how migration, colonial encounters, and connectivity or insularity influence social identities. The volume includes a series of innovative, closely related case studies that examine the contacts amongst various Mediterranean islands – Sardinia, Corsica, Sicily, Crete, Cyprus, the Balearics – and the nearby shores of Italy, Greece, North Africa, Spain and the Levant to explore the social and cultural impact of migratory, colonial and exchange encounters. Material Connections forges a new path in understanding the material culture of the Mediterranean and will be essential for those wishing to develop their understanding of material culture and identity in the Mediterranean.
All across the humanities fields there is a new interest in materials and materiality. This is the first book to capture and study the “material turn” in the humanities from all its varied perspectives. Cultural Histories of the Material World brings together top scholars from all these different fields—from Art History, Anthropology, Archaeology, Classics, Folklore, History, History of Science, Literature, Philosophy—to offer their vision of what cultural history of the material world looks like and attempt to show how attention to materiality can contribute to a more precise historical understanding of specific times, places, ways, and means. The result is a spectacular kaleidoscope of future possibilities and new perspectives.
How do archaeologists make effective use of physical traces and material culture as repositories of evidence? Material Evidence takes a resolutely case-based approach to this question, exploring instances of exemplary practice, key challenges, instructive failures, and innovative developments in the use of archaeological data as evidence. The goal is to bring to the surface the wisdom of practice, teasing out norms of archaeological reasoning from evidence. Archaeologists make compelling use of an enormously diverse range of material evidence, from garbage dumps to monuments, from finely crafted artifacts rich with cultural significance to the detritus of everyday life and the inadvertent transformation of landscapes over the long term. Each contributor to Material Evidence identifies a particular type of evidence with which they grapple and considers, with reference to concrete examples, how archaeologists construct evidential claims, critically assess them, and bring them to bear on pivotal questions about the cultural past. Historians, cultural anthropologists, philosophers, and science studies scholars are increasingly interested in working with material things as objects of inquiry and as evidence – and they acknowledge on all sides just how challenging this is. One of the central messages of the book is that close analysis of archaeological best practice can yield constructive guidelines for practice that have much to offer archaeologists and those in related fields.
Beads, bracelets, necklaces, pendants and many other ornaments are familiar objects that play a fundamental role in personal expression and communication. This book considers how and why the human relationship with ornaments developed and continued over tens of thousands of years, from hunter-gatherer life in the cave to urban elites, from expedient use of natural resources to complex technologies. Using evidence from archaeological sites across Turkey, the Near East and the Balkans, it explores the history of personal ornaments from their appearance in the Palaeolithic until the rise of urban centers in the Early Bronze Age and encompassing technologies ranging from stone cutting to early glazing, metallurgy and the roots of glass manufacture. The development of theoretical and practical approaches to ornaments and the current state of research are illustrated with a wide variety of examples. This book shows that far from being objects of display, of little value in archaeological interpretation and often overlooked, these artifacts are key to understanding trade, relationships, values, beliefs and the construction of personal identity in the past. Indeed, more than any other group of artifacts, their variety in material, form, use and distribution opens doors to both wide ranging scientific exploration and consideration of what it is to be human.
The future of humanity is urban, and knowledge of urbanism’s deep past is critical for us all to navigate that future. The time has come for archaeologists to rethink this global phenomenon by asking what urbanism is and, more to the point, was. Can we truly understand ancient urbanism by only asking after the human element, or are the properties and qualities of landscapes, materials, and atmospheres equally causal? The nine authors of New Materialisms Ancient Urbanisms seek less anthropocentric answers to questions about the historical relationships between urbanism and humanity in Africa, Asia, and the Americas. They analyze the movements and flows of materials, things, phenomena, and beings—human and otherwise—as these were assembled to produce the kinds of complex, dense, and stratified relationships that we today label urban. In so doing, the book emerges as a work of both theory and historical anthropology. It breaks new ground in the archaeology of urbanism, building on the latest ‘New Materialist’, ‘relational-ontological’, and ‘realist’ trends in social theory. This book challenges a new generation of students to think outside the box, and provides scholars of urbanism, archaeology, and anthropology with a fresh perspective on the development of urban society.
The visual imagery of Neolithic Britain and Ireland is spectacular. While the imagery of passage tombs, such as Knowth and Newgrange, are well known the rich imagery on decorated portable artefacts is less well understood. How does the visual imagery found on decorated portable artefacts compare with other Neolithic imagery, such as passage tomb art and rock art? How do decorated portable artefacts relate chronologically to other examples of Neolithic imagery? Using cutting edge digital imaging techniques, the Making a Mark project examined Neolithic decorated portable artefacts of chalk, stone, bone, antler, and wood from three key regions: southern England and East Anglia; the Irish Sea region (Wales, the Isle of Man and eastern Ireland); and Northeast Scotland and Orkney. Digital analysis revealed, for the first time, the prevalence of practices of erasure and reworking amongst a host of decorated portable artefacts, changing our understanding of these enigmatic artefacts. Rather than mark making being a peripheral activity, we can now appreciate the central importance of mark making to the formation of Neolithic communities across Britain and Ireland. The volume visually documents and discusses the contexts of the decorated portable artefacts from each region, discusses the significance and chronology of practices of erasure and reworking, and compares these practices with those found in other Neolithic contexts, such as passage tomb art, rock art and pottery decoration. A contribution from Antonia Thomas also discusses the settlement art and mortuary art of Orkney, while Ian Dawson and Louisa Minkin contribute with a discussion of the collaborative fine art practices established during the project.
Archaeological Theory in the New Millennium provides an account of the changing world of archaeological theory and a challenge to more traditional narratives of archaeological thought. It charts the emergence of the new emphasis on relations as well as engaging with other current theoretical trends and the thinkers archaeologists regularly employ. Bringing together different strands of global archaeological theory and placing them in dialogue, the book explores the similarities and differences between different contemporary trends in theory while also highlighting potential strengths and weaknesses of different approaches. Written in a way to maximise its accessibility, in direct contrast to many of the sources on which it draws, Archaeological Theory in the New Millennium is an essential guide to cutting-edge theory for students and for professionals wishing to reacquaint themselves with this field.