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The Prehistoric Rock Art of Portugal presents significant
interpretive perspectives in Portuguese rock art research and
offers an excellent representation of core rock art areas, along
with current thinking and interpretations. The various chapters
deliver a personal approach to the many issues, themes and
approaches that are embedded within the rock art of the outpost of
western Atlantic Europe. Ethnographical perspectives have often
dominated the study of rock art but unlike other well studied
regions, the western Iberian Peninsula is absent of an
ethnographical or ethno-historical past and therefore the
production of rock art can only be archaeologically assessed. Thus,
the work promotes interpretive perspectives on Portuguese rock art,
illustrating the richness, chronology and context of these unique
artistic expressions and explores the variability of rock art
imagery and the diversity of landscapes and social contexts in
which it was produced. Although focusing on Portuguese rock art the
book includes a number of universal themes that will appeal to a
broad range of scholars researching in archaeology and
anthropology, history of art, as well as professionals engaged in
rock art heritage and conservation.
Rock art in South America is as diverse as the continent itself. In
this vast territory, different peoples produced engravings,
paintings, and massive earthworks, from the Atacama to the Amazon.
These marks on the landscape were made by all different kinds of
peoples, from some of the earliest hunter-gatherers in the
continent, to the very complex societies within the Inca Empire.
This book brings together the work of specialists from throughout
the continent, addressing this diversity, as well as the variety of
approaches that the Archaeology of rock art has taken in South
America. Constructed of eleven thought-provoking chapters and
arranged in three thematic sections, the book presents different
theoretical approaches that are currently being used to understand
the roles rock art played in prehistoric communities. The editors
have skillfully crafted a book that presents the contribution the
study of South American rock art can offer to the global research
of this materiality, both theoretically and methodologically. This
book will interest a broad range of scholars researching in
archaeology, anthropology, history of art, heritage and
conservation, as well as undergraduate and postgraduate students
who will find interesting case studies showcasing the diverse ways
in which rock art can be approached. Despite its focus on South
America, the book is intended as a contribution towards the global
study of rock art.
For those who love to live in old houses or want to invest in one,
this completely revised and updated book levels no stone unturned.
From evaluating a property to making foundation repairs to adding
on a porch, it's a comprehensive guide to every aspect of making
renovations and repairs--whether you already live in, or are
contemplating buying, an older home.
Author Biography: George Nash is a part-time Lecturer in European prehistory at the Centre of the Historic Environment, University of Bristol, and Senior Archaeologist with Border Archaeology. Christopher Chippindale is a Curator in the Cambridge University Museum of Archaeology and Anthropology.
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 addresses the most important component of the rock-art panel: its landscape. The book draws together the work of many well-known scholars from key regions of the world known for rock-art and rock-art research. It provides insight into the location and structure of rock-art and its role within the landscapes of ancient worlds.
Rock art in South America is as diverse as the continent itself. In
this vast territory, different peoples produced engravings,
paintings, and massive earthworks, from the Atacama to the Amazon.
These marks on the landscape were made by all different kinds of
peoples, from some of the earliest hunter-gatherers in the
continent, to the very complex societies within the Inca Empire.
This book brings together the work of specialists from throughout
the continent, addressing this diversity, as well as the variety of
approaches that the Archaeology of rock art has taken in South
America. Constructed of eleven thought-provoking chapters and
arranged in three thematic sections, the book presents different
theoretical approaches that are currently being used to understand
the roles rock art played in prehistoric communities. The editors
have skillfully crafted a book that presents the contribution the
study of South American rock art can offer to the global research
of this materiality, both theoretically and methodologically. This
book will interest a broad range of scholars researching in
archaeology, anthropology, history of art, heritage and
conservation, as well as undergraduate and postgraduate students
who will find interesting case studies showcasing the diverse ways
in which rock art can be approached. Despite its focus on South
America, the book is intended as a contribution towards the global
study of rock art.
What constitutes an island and the archaeology contained within? Is
it the physicality of its boundary (between shoreline and sea)?
Does this physical barrier extend further into a watery zone?
Archaeologically, can islands be defined by cultural heritage and
influence? Clearly, and based on these few probing questions,
islands are more than just lumps of rock and earth sitting in the
middle of a sea or ocean. An island is a space which, when
described in terms of topography, landscape form and resources,
becomes a place. A place can sometimes be delineated with barriers
and boundaries; it may also have a perimeter and can be
distinguished from the space that surrounds it. The 16 papers
presented here explore the physicality, and levels of insularity of
individual islands and island groups during prehistory through a
series of case studies on Neolithic island archaeology in the
Atlantic and Mediterranean regions. For the eastern Atlantic (the
Atlantic Archipelago) papers discuss the sacred geographies and
material culture of Neolithic Gotland, Orkney, and Anglesey and the
architecture of and ritual behaviour associated with megalithic
monuments in the Channel Islands and the Scilly Isles. The
Mediterranean region is represented by a different type of
Neolithic, both in terms of architecture and material culture.
Papers discuss theoretical constructs and ritual deposition, cave
sites, ritualised and religious aspects of Neolithic death and
burial; metaphysical journeys associated with the underworld in
Late Neolithic Malta and the possible role of its Temple Period art
in ritual activities; and palaeoenvironmental evidence from the
Neolithic monuments of Corsica. The cases examined illustrate the
diversity of the evidence available that affords a better
understanding of the European-Mediterranean Neolithic 'island
society', not least the effects of interaction/contact and/or
geographical insularity/isolation, all factors that are considered
to have consequences for the establishment and modification of
cultures in island settings.
Signalling and Performance: Ancient Rock Art in Britain and Ireland
presents a state of the art survey of the ancient rock art of
Britain and Ireland, bringing together new discoveries and new
interpretations. Ancient rock art offers unique insights into the
mindsets of its makers and the landscapes in which they lived. The
making of rock art was not just an aesthetic practice, but an
activity informed by deep social and cultural meanings held by its
makers - meanings that they were compelled to express on rocks in
Britain and Ireland, through mostly abstract images, for thousands
of years. For a long time, ancient rock art remained a topic on the
fringes of Archaeology. Since the 1960s, however, there has been
sustained recording and research into ancient rock art. Increased
publicity has evoked growing interest in British and Irish rock
art, with professional and amateur archaeologists and the public,
with the latter being responsible for many discoveries. In 2007,
Aron Mazel, George Nash and Clive Waddington published the first
edited volume focusing on ancient British rock art, entitled Art as
Metaphor. Since then, there have been a number of publications
covering this topic. Building on the increased interest in rock
art, this lavishly illustrated volume constructed of thirteen
thought-provoking chapters and an Introduction will do much to
further enhance of understanding of this fascinating and meaningful
resource. It will further establish ancient British and Irish rock
art as a significant archaeological assemblage worthy of attention
and additional study.
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The Drama (Paperback)
George Nash
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R389
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This is an EXACT reproduction of a book published before 1923. This
IS NOT an OCR'd book with strange characters, introduced
typographical errors, and jumbled words. This book may have
occasional imperfections such as missing or blurred pages, poor
pictures, errant marks, etc. that were either part of the original
artifact, or were introduced by the scanning process. We believe
this work is culturally important, and despite the imperfections,
have elected to bring it back into print as part of our continuing
commitment to the preservation of printed works worldwide. We
appreciate your understanding of the imperfections in the
preservation process, and hope you enjoy this valuable book.
The Archaeology of Semiotics and the social order of things is
edited by George Nash and George Children and brings together 15
thought-provoking chapters from contributors around the world. A
sequel to an earlier volume published in 1997, it tackles the
problem of understanding how complex communities interact with
landscape and shows how the rules concerning landscape constitute a
recognised and readable grammar.
In the early 16th century Weobley was described as a market town in
Herefordshire, where is a goodly castell, but somewhat in decay.
Less than a century later, and based on a plan made by Silas
Taylor, all that remained of the castle were a few walls, a series
of robbed construction trenches and, maybe two substantial timber
framed buildings referred to by Taylor as dwellings anciently. As
time passed, the history of the castle was lost, albeit
temporarily. Between 2001 and 2004, a project to uncover many
unsolved questions concerning the origins, use and demise of the
castle was undertaken by a multi-disciplinary team led by the
editors of this volume. The project, funded by the Local Heritage
Initiative and supported by volunteers, undertook a series of
non-intrusive investigations as well as detailed studies into the
history and development of this once medieval town. Following the
results of the surveys, strategic trenching was located in various
locations in and around the castle. From this excavation was found
an array of objects such as medieval pottery, coinage and metalwork
along with significant structures including the foundations of a
number of medieval buildings. Looking beyond the Castle Walls
provides a detailed account of the methodology of each of the
survey and excavation programmes that assisted in the unravelling
some of the answers to this most complex of histories.
Old Oswestry is considered to be one of England's most precious
archaeological jewels, described by Sir Cyril Fox in the 1930s as
'the outstanding work of the Early Iron Age type on the Marches of
Wales', and its design is unique amongst hillforts in the UK.
Located on the edge of the Shropshire Plain and just a kilometre
north of the market town of Oswestry, the hillfort (and its
hinterland landscape) can trace activity through artefactual
evidence back at least 5000 years, with the last 3000 years evident
as earthworks. The reader will notice that little in the way of
archaeological investigation has occurred within the hillfort, and
indeed, more excavation took place when its internal space became a
training ground for trench warfare during World War I than through
any academic endeavour. Old Oswestry Hillfort and its Landscape:
Ancient Past, Uncertain Future, organised into 14 well-crafted
chapters, charts the archaeology, folklore, heritage and landscape
development of one of England's most enigmatic monuments, from the
Iron Age, through its inclusion as part of an early medieval
boundary between England and Wales, to its role during World War I
when, between 1915 and 1918, over 4000 troops (including Oswestry's
own great war poet Wilfrid Owen), were being trained at any one
time for the Western Front. This book also discusses in detail the
recent threats to the monument's special landscape from insensitive
development and its alternative potential to act as a heritage
gateway for the recreational and economic benefit of Oswestry and
surrounding communities.
'Shamanism' is a term with specific anthropological roots, but
which is used more generally to cover a set of interactions between
a practitioner or 'shaman' and a spiritual or religious realm
beyond the reach of most members of the community. It has often
been considered from an anthropological viewpoint, but this book
gathers the most recent studies on a subject which has not been
comprehensively studied by archaeologists. By putting together
experts from two continents who have studied the phenomenon of
shamanism, Lands of the Shamans through carefully selected case
studies uses the archaeological evidence to construct the shamans'
worldview, landscape and cosmology. Recent interdisciplinary
studies support the idea of the existence of shamanistic
representations as long ago as the Middle/Upper Palaeolithic, but
at the same time, do not follow developments during the history of
humankind. As ethnographic evidence shows, shamanistic activity
represents a complex phenomenon that is extremely diversified, its
spiritual activity possessing a large variety of expressions in the
material culture. In other words, shamanism could be defined as a
series of differing spiritual world views which model the material
culture and the landscape. Throughout the archaeological record of
all prehistoric and historic periods, there is a series of visual
representations and objects and landscape alterations that could be
ascribed to these differing world views, many thought to represent
shamanistic cognition and activity. The shaman's landscape reveals
itself to the world as one of multifaceted spiritual and material
activity. Consequently, this first book dedicated completely to the
shamanistic landscape presents in fresh perspective the landscapes
of the lower and upper worlds as well as their phenomenological
experience. Case Studies come from Europe, North America and Asia.
It seems that, over recent years, the term landscape has received
much discussion, albeit based on the mechanics of landscape. What
has been omitted is the construction of landscape in terms of
aesthetics, knowledge, emotion, interpretation and application.
Although landscape is 'there', we control the imagination and
cognitive construction of it. Fundamentally, landscape can be
defined as a series of 'spaces' that become 'places', and, within
this volume (the product of a number of conference sessions run
between 1997-99 by the Theoretical Archaeology Group), 17
contributors re-address the importance of space/place and suggest
both may be considered as part of an archaeological assemblage.
Some chapters also attempt to place rock art into a narrative,
placing its historical value into a prehistoric context.
Nash investigates the relationship between artistic representation,
ideology, and the social relations of production in Mesolithic
hunter/fisher/gather societies of Denmark and southern Sweden. From
a selective analysis of the literature, he produces a broad
structuralist perspective from which to analyse portable art.
Questions are asked on topics such as the influence of inscribed
motifs on more representational designs, and how society and art
influence each other.
A thought provoking collection of essays which take a cognitive
approach to landscape, examining the phenomonology and symbolism of
landscapes and monuments. The contributions are: Establishing a
discourse: the language of landscape ( George Children and George
Nash ); Monumentality and the landscape: long chambered tombs
around the Black Mountains ( George Nash ); Places as timemarks-
the social construction of prehistoric landscapes ( John Chapman );
Dancing in space: rock art of the Campo Lameiro Valley, Spain (
George Nash ); Towards a phenomonology of building: the Neolithic
long mound at La Commune-Seche, Normandy ( Trevor Kirk ); From
settlements to monuments: site succession in Late Neolithic and
Early Bronze Age Jutland ( I. J. N. Thorpe ); Christian landscapes
of pagan monuments-a radical constructivist perspective ( Cornelius
Holtorf ); The materially-structured social enviroment of the
Maltese islands ( Andrew Townsend ); Experiencing space and
symmetry: the use, destruction and abandonment of La Hougue Bie
Neolithic Passage Grave, Jersey ( George Nash ).
Professor Daniel Arsenault, along with his wife, Nadine Desbiens,
and stepson, Jacob Desbiens-Doyle, were sadly taken from this world
in 2016 following a tragic car accident. Daniel was the leading
exponent in Canadian Shield rock art. Working in the northern part
of Quebec, Daniel explored many hundreds of square kilometres of
this vast area for rock art. Working with ethnographers and First
Nation people, Daniel became a formidable force in promoting this
little known assemblage, lecturing all over the world and
stimulating audiences wherever he went. Complementing his knowledge
of rock art, Daniel also had a deep understanding of the heritage
of the people whose ancestors made the images. Shortly before his
death, Daniel was made an Erasmus Mundus Professor at Polytechnic
Institute of Tomar in Portugal. Here, he was due to share his
wealth of knowledge and enthusiasm about rock art and cultural
heritage to an attentive audience. Daniel clearly had much more to
offer, and this book is an extension of his ways of thinking. He
has left an important legacy that has touched the lives of many,
including people who contributed to this volume. The book has 14
thought-provoking chapters and deals with Daniel's first love - the
archaeology of artistic endeavour. It gathers together both
academic colleagues and family who share with the reader elements
of Daniel's life. The book is also a serious academic volume,
providing the reader with new ideas about the interpretation and
dating of rock art, ethnography, heritage and material culture.
The Dolmen de Soto is considered one of the premier Neolithic
passage graves in the Iberian Peninsula. Set within a flat fertile
plain and c. 8.5km south-east of the town of Trigueros in
Andalucia, this monument was in use some 5000 years ago and was
part of a unique pan-Atlantic European cultural revolution that
included ornamentation of the internal spaces of many passage grave
monuments. The site was discovered in 1923 by Armando de Soto
Morillas and subsequently excavated over three consecutive seasons
by the German archaeologist Hugo Obermaier. The passage and chamber
are constructed within a low circular mound that measures 75m in
diameter, making it one of the largest passage graves in Europe.
The Dolmen de Soto has recently undergone a significant restoration
programme and as part of this project, engraved and painted images
upon the upright stones within the passage and chamber areas were
investigated and recorded by a team of international scientists
between 2016 and 2017 using a variety of photogrammetric methods.
This publication tells the fascinating story of the archaeological
and historical context of the site, along with the methods employed
and stunning results the project yielded.
A companion to The Archaeology of Rock-Art (Cambridge, 1998), this new collection addresses the most important component of the rock-art panel: its landscape. The book draws together the work of many well-known scholars from key regions of the world known for rock-art and rock-art research. It provides insight into the location and structure of rock-art and its role within the landscapes of ancient worlds.
Enigmatic, esoteric and fascinating, the rock-art of the British
Isles has for a long time been a well kept secret at home and
abroad. However, dedicated work by rock-art researchers over the
last few decades has seen the discovery of hundreds of new panels
and the publication of several high quality regional surveys and
numerous survey reports and academic articles, and the creation of
a highly successful world-class website on Northumberland rock-art.
British rock-art has arrived on the world stage. Drawing on these
exciting developments, this volume brings together a carefully
selected collection of papers that cover British prehistoric
rock-art from over 10,000 years ago. Some of the topics addressed
include: recent discoveries of Palaeolithic cave art and probable
Mesolithic; inscriptions; new perspectives on Neolithic-Early
Bronze Age and Pictish rock-art; regional studies on the rock-art
of Cumbria, Northumberland, North Yorkshire and South West Britain;
relationships between rock-art and ritual and funerary monuments
and between rock-art and landscape; experiential approaches to
understanding passage grave art within chambered tombs; the history
of British rock-art research. Contents: 1) A coming of age (Aron
Mazel, George Nash and Clive Waddington); 2) Rock-art and art
mobilier of the British Upper Palaeolithic (Paul Pettitt and Paul
Bahn); 3) Possible Mesolithic cave art in southern England (Graham
Mullan & Linda Wilson); 4) Neolithic rock-art in the British
Isles: retrospect and prospect (Clive Waddington); 5) Pictish
symbol stones: caught between prehistory and history (Meggen
Gondek); 6) Rock-art in Cleveland and north-east Yorkshire:
contexts and chronology (Blaise Vyner);7) Exploring links between
cupmarks and cairnfields (Philip Deakin); 8) Light at the end of
the tunnel: the way megalithic art was viewed and experienced
(George Nash); 9) Rock-art and rough outs: exploring the sacred and
social dimensions of prehistoric carvings at Copt Howe, Cumbria
(Kate E. Sharpe); 10 ) A scattering of images: the rock-art of
southern Britain (George Nash); 11) How the study of rock-art began
and developed (Stan Beckensall); 12) On the fells and beyond:
exploring aspects of Northumberland rock-art (Aron D. Mazel).
Rocks of Ages: Developing Rock Art Tourism in Israel presents the
findings of an interdisciplinary project aimed at safeguarding the
future of this unique resource. Cultural heritage in the Negev
desert region of Israel is potentially under threat from a number
of social, political and economic activities such as
militarization, settlement and tourism, resulting in significant
environmental change. The cultural heritage and archaeology extend
back at least a quarter of a million years but also include a
unique engraved rock art assemblage that dates to at least 3000
BCE. These engravings form a clear association with other relic
monuments including prehistoric and protohistoric settlements,
agricultural and irrigation regimes, and the remnants of a nomadic
way of life. But how can this unique cultural heritage survive in
the long-term? In December 2017, an international conference was
held at Mitzpe Ramon attended by academics, heritage professionals
and individuals from the tourism industry. The meeting centered on
the dissemination of the findings from the Integrative Multilateral
Planning to Advance Rock Art Tourism (IMPART) research project.
Formed from an interdisciplinary team of Israeli-Italian scholars,
the IMPART researchers collaborated to conduct archaeo-ecological
and socio-touristic research with the goal of establishing an
authoritative set of sustainable best practices for effectively
valorizing Negev rock art. Based on the successful outcome of this
research dynamic, the book is organized into 12 thought-provoking
chapters that identify and analyze the cultural heritage,
archaeology and tourism geographies that fill the multilayered
Negev landscape. The focus throughout is to find ways to preserve
this unique heritage for future generations while striking a
balance between these fragile resources and the pressures for
development of the desert.
Why publish a Reader? Today, it is relatively easy and convenient
to switch on your computer and download an academic paper. However,
as many scholars have experienced, historic references are
difficult to access. Moreover, some are now lost and are merely
references in later papers. This can be frustrating. This book
provides a series of papers from all over the world that extend as
far back as the 1970s when rock art research was in its infancy.
The papers presented in the Reader reflect the development in the
various approaches that have influenced advancing scholarly
research.
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