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.

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.

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.

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.

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.

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.

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.

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.

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.

The present book explores the complexity of the past, by analysing the relationships between place, territory, the material value of objects and landscapes, time and ritual, during archaeological investigations. It presents the archaeology of place as a series of interconnecting and interactive relationships. It is clear that things and places do not emerge without some form of agency, usually through the concept of material manipulation, coupled with elaboration, innovation and time. Depending on the raw material used and the process of manipulation and its relationship with the environment, materiality gains value.How do we as modern humans work within the complexity of place, materiality, time, and ritual?Traditional in archaeological discourse is the need to describe place, albeit in an empiricist and banal way. Discourse is sometimes followed by a more fruitful and interpretive account. However, these accounts tend to ignore human emotion that is bound-up in place, for example the ritualized and symbolic meanings that place holds. This book explores the significance of geography, place and the materiality that place holds, and challenges many of the tradition norms that in the past have trivialized landscape archaeology. The book is divided into 14 thought-provoking and crafted chapters and will be an ideal companion to anyone involved in the social sciences.