Edited by two pioneers in the field of sensory archaeology, this Handbook comprises a key point of reference for the ever-expanding field of sensory archaeology: one that surpasses previous books in this field, both in scope and critical intent. This Handbook provides an extensive set of specially commissioned chapters, each of which summarizes and critically reflects on progress made in this dynamic field during the early years of the twenty-first century. The authors identify and discuss the key current concepts and debates of sensory archaeology, providing overviews and commentaries on its methods and its place in interdisciplinary sensual culture studies. Through a set of thematic studies, they explore diverse sensorial practices, contexts and materials, and offer a selection of archaeological case-studies from different parts of the world. In the light of this, the research methods now being brought into the service of sensory archaeology are re-examined. Of interest to scholars, students and others with an interest in archaeology around the world, this book will be invaluable to archaeologists and is also of relevance to scholars working in disciplines contributing to sensory studies: aesthetics, anthropology, architecture, art history, communication studies, history (including history of science), geography, literary and cultural studies, material culture studies, museology, philosophy, psychology, and sociology.

Museums and Archaeology brings together a wide, but carefully chosen, selection of literature from around the world that connects museums and archaeology. Part of the successful Leicester Readers in Museum Studies series, it provides a combination of issue- and practice-based perspectives. As such, it is a volume not only for students and researchers from a range of disciplines interested in museum, gallery and heritage studies, including public archaeology and cultural resource management (CRM), but also the wide range of professionals and volunteers in the museum and heritage sector who work with archaeological collections. The volume's balance of theory and practice and its thematic and geographical breadth is explored and explained in an extended introduction, which situates the readings in the context of the extensive literature on museum archaeology, highlighting the many tensions that exist between idealistic 'principles' and real-life 'practice' and the debates that surround these. In addition to this, section introductions and the seminal pieces themselves provide a comprehensive and contextualised resource on the interplay of museums and archaeology.

Edited by two pioneers in the field of sensory archaeology, this Handbook comprises a key point of reference for the ever-expanding field of sensory archaeology: one that surpasses previous books in this field, both in scope and critical intent. This Handbook provides an extensive set of specially commissioned chapters, each of which summarizes and critically reflects on progress made in this dynamic field during the early years of the twenty-first century. The authors identify and discuss the key current concepts and debates of sensory archaeology, providing overviews and commentaries on its methods and its place in interdisciplinary sensual culture studies. Through a set of thematic studies, they explore diverse sensorial practices, contexts and materials, and offer a selection of archaeological case-studies from different parts of the world. In the light of this, the research methods now being brought into the service of sensory archaeology are re-examined. Of interest to scholars, students and others with an interest in archaeology around the world, this book will be invaluable to archaeologists and is also of relevance to scholars working in disciplines contributing to sensory studies: aesthetics, anthropology, architecture, art history, communication studies, history (including history of science), geography, literary and cultural studies, material culture studies, museology, philosophy, psychology, and sociology.

Museums and Archaeology brings together a wide, but carefully chosen, selection of literature from around the world that connects museums and archaeology. Part of the successful Leicester Readers in Museum Studies series, it provides a combination of issue- and practice-based perspectives. As such, it is a volume not only for students and researchers from a range of disciplines interested in museum, gallery and heritage studies, including public archaeology and cultural resource management (CRM), but also the wide range of professionals and volunteers in the museum and heritage sector who work with archaeological collections. The volume's balance of theory and practice and its thematic and geographical breadth is explored and explained in an extended introduction, which situates the readings in the context of the extensive literature on museum archaeology, highlighting the many tensions that exist between idealistic 'principles' and real-life 'practice' and the debates that surround these. In addition to this, section introductions and the seminal pieces themselves provide a comprehensive and contextualised resource on the interplay of museums and archaeology.

Caves in Context provides the thriving inter-disciplinary field of cave studies with a European-scale survey of current research in cave archaeology. It is unified by a contemporary theoretical emphasis on the cultural significance and diversity of caves over space and time. Caves and rockshelters are found all over Europe, and have frequently been occupied by human groups, from prehistory right up to the present day. Some appear to have only traces of short occupations, while others contain deep cultural deposits, indicating longer and multiple occupations. Above all, there is great variability in their human use, both secular and sacred. The aim of this book is to explore the multiple significances of these natural places in a range of chronological, spatial, and cultural contexts across Europe. The volume demonstrates, through a diversity of archaeological approaches and examples, that cave studies, whist necessarily focussed, can also be of significance to wider, contemporary, archaeological research agendas, particularly when a contextual approach is adopted. The book is also of relevance to other scholars working in the related fields of speleology, earth sciences, landscape studies, and anthropology, which together comprise the inter-disciplinary field of cave studies.

Throughout the world, competing interest groups lay claim to the material remains of the past. Archaeologists, developers, indigenous 'first peoples' , looters, museum curators, national government officals, New Age worshippers, private collectors, tourists - all want their share. This introduction to contemporary debates surrounding their rival claims deals with defining, owning, protecting, managing, interpreting, and experiencing the archaeological heritage. Fundamental questions are considered: What is 'archaeological heritage'? Who should own and control the material culture of the past? How should these remains be protected? How should the archaeological heritage be presented to the public? Robin Skeates calls for greater communication and co-operation between archaeologists and other interest groups, urging archaeologists to increase the involvement of local people in the culturally valuable and vulnerable material remains of their past, and in archaeological research that attempts to be objective.

Prehistoric objects were for many years, viewed as curiosities, symbols of an ancient past, collected and desired because of their rarity and longevity. In the 16th century prehistoric objects were making their way into private collections, endowed with the interpretations and beliefs of their owners. Robin Skeates discusses the development of these collections throughout the 16th to 19th century, the various social and political agendas and of the collectors and the different types of collections formed: state, regional, provincial, local museums, university collections, permanent exhibitions and private collections.

This book draws on the complementary fields of visual cultural studies and interpretative archaeology to examine how successive generations transformed their visual culture to construct themselves. It explores this process through an extended case-study of art and social life in prehistoric south-east Italy, between the Upper Palaeolithic and the Bronze Age. A central argument of the book is that a wide range of visually communicative artworks were consumed and produced in the cultural process. Such objects range from portable artefacts, to installations within sites, to monumental structures in the landscape - all of which were interwoven with people's bodies in the experiences of daily life and special performances. More specifically, it is argued that these powerful aesthetic objects were actively used by people across space and time to perceive the world around them and to reproduce their social lives. They helped people to establish personal and collective boundaries, identities and relationships, to acquire and exercise power, to promote ideologies, and to contest them, especially at time of social tension.