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Archaeological interpretation is an imaginative act. Stratigraphy
and artefacts do not tell us what the past was like; that is the
task of the archaeologist. The diverse group of contributors to
this volume address the relationship between archaeology and
imagination through the medium of historical fiction and fictive
techniques, both as consumers and as producers. The
fictionalisation of archaeological research is often used to
disseminate the results of scholarly or commercial archaeology
projects for wider public outreach. Here, instead, the authors
focus on the question of what benefits fiction and fictive
techniques, as inspiration and method, can bring to the practice of
archaeology itself. The contributors, a mix of archaeologists,
novelists and other artists, advance a variety of theoretical
arguments and examples to advance the case for the value of a
reflexive engagement between archaeology and fiction. Themes
include the similarities and differences in the motives and methods
of archaeologists and novelists, translation, empathy, and the need
to humanise the past and diversify archaeological narratives. The
authors are sensitive to the epistemological and ethical issues
surrounding the influence of fiction on researchers and the
incorporation of fictive techniques in their work. Sometimes
dismissed as distracting just-so stories, or even as dangerously
relativistic narratives, the use of fictive techniques has a long
history in archaeological research and examples from the scholarly
literature on many varied periods and regions are considered. The
volume sets out to bring together examples of these disparate
applications and to focus attention on the need for explicit
recognition of the problems and possibilities of such approaches,
and on the value of further research about them.
Archaeological interpretation is an imaginative act. Stratigraphy
and artefacts do not tell us what the past was like; that is the
task of the archaeologist. The diverse group of contributors to
this volume address the relationship between archaeology and
imagination through the medium of historical fiction and fictive
techniques, both as consumers and as producers. The
fictionalisation of archaeological research is often used to
disseminate the results of scholarly or commercial archaeology
projects for wider public outreach. Here, instead, the authors
focus on the question of what benefits fiction and fictive
techniques, as inspiration and method, can bring to the practice of
archaeology itself. The contributors, a mix of archaeologists,
novelists and other artists, advance a variety of theoretical
arguments and examples to advance the case for the value of a
reflexive engagement between archaeology and fiction. Themes
include the similarities and differences in the motives and methods
of archaeologists and novelists, translation, empathy, and the need
to humanise the past and diversify archaeological narratives. The
authors are sensitive to the epistemological and ethical issues
surrounding the influence of fiction on researchers and the
incorporation of fictive techniques in their work. Sometimes
dismissed as distracting just-so stories, or even as dangerously
relativistic narratives, the use of fictive techniques has a long
history in archaeological research and examples from the scholarly
literature on many varied periods and regions are considered. The
volume sets out to bring together examples of these disparate
applications and to focus attention on the need for explicit
recognition of the problems and possibilities of such approaches,
and on the value of further research about them.
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