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The book approaches museums of the Great War as political entities,
some more overtly than others, but all unable to escape from the
politics of the war, its profound legacies and its enduring memory.
Their changing configurations and content are explored as
reflections of the social and political context in which they
exist. Curating of the Great War has expanded beyond the walls of
museum buildings, seeking public engagement, both direct and
digital, and taking in whole landscapes. Recognizing this fact, the
book examines these museums as standing at the nexus of
historiography, museology, anthropology, archaeology, sociology and
politics as well as being a lieux de memoire. Their multi-vocal
nature makes them a compelling subject for research and above all
the book highlights that it is in these museums that we see the
most complete fusion of the material culture of conflict with its
historical, political and experiential context. This book is an
essential read for researchers of the reception of the Great War
through material culture and museums.
Conflict Landscapes explores the long under-acknowledged and
under-investigated aspects of where and how modern conflict
landscapes interact and conjoin with pre-twentieth-century places,
activities, and beliefs, as well as with individuals and groups.
Investigating and understanding the often unpredictable power and
legacies of landscapes that have seen (and often still viscerally
embody) the consequences of mass death and destruction, the book
shows, through these landscapes, the power of destruction to
preserve, refocus, and often reconfigure the past. Responding to
the complexity of modern conflict, the book offers a coherent,
integrated, and sensitized hybrid approach, which calls on
different disciplines where they overlap in a shared common
terrain. Dealing with issues such as memory, identity, emotion, and
wellbeing, the chapters tease out the human experience of modern
conflict and its relationship to landscape. Conflict Landscapes
will appeal to a wide range of disciplines involved in studying
conflict, such as archaeology, anthropology, material culture
studies, art history, cultural history, cultural geography,
military history, and heritage and museum studies.
The book approaches museums of the Great War as political entities,
some more overtly than others, but all unable to escape from the
politics of the war, its profound legacies and its enduring memory.
Their changing configurations and content are explored as
reflections of the social and political context in which they
exist. Curating of the Great War has expanded beyond the walls of
museum buildings, seeking public engagement, both direct and
digital, and taking in whole landscapes. Recognizing this fact, the
book examines these museums as standing at the nexus of
historiography, museology, anthropology, archaeology, sociology and
politics as well as being a lieux de memoire. Their multi-vocal
nature makes them a compelling subject for research and above all
the book highlights that it is in these museums that we see the
most complete fusion of the material culture of conflict with its
historical, political and experiential context. This book is an
essential read for researchers of the reception of the Great War
through material culture and museums.
Conflict Landscapes explores the long under-acknowledged and
under-investigated aspects of where and how modern conflict
landscapes interact and conjoin with pre-twentieth-century places,
activities, and beliefs, as well as with individuals and groups.
Investigating and understanding the often unpredictable power and
legacies of landscapes that have seen (and often still viscerally
embody) the consequences of mass death and destruction, the book
shows, through these landscapes, the power of destruction to
preserve, refocus, and often reconfigure the past. Responding to
the complexity of modern conflict, the book offers a coherent,
integrated, and sensitized hybrid approach, which calls on
different disciplines where they overlap in a shared common
terrain. Dealing with issues such as memory, identity, emotion, and
wellbeing, the chapters tease out the human experience of modern
conflict and its relationship to landscape. Conflict Landscapes
will appeal to a wide range of disciplines involved in studying
conflict, such as archaeology, anthropology, material culture
studies, art history, cultural history, cultural geography,
military history, and heritage and museum studies.
Twentieth-century war is a unique cultural phenomenon and the last
two decades have seen significant advances in our ability to
conceptualize and understand the past and the character of modern
technological warfare. At the forefront of these developments has
been the re-appraisal of the human body in conflict, from the
ethics of digging up First World War bodies for television
programmes to the contentious political issues surrounding the
reburial of Spanish Civil War victims, the relationships between
the war body and material culture (e.g. clothing, and prostheses),
ethnicity and identity in body treatment, and the role of the 'body
as bomb' in Iraq, Afghanistan and beyond. Focused on material
culture, Bodies in Conflict revitalizes investigations into the
physical and symbolic worlds of modern conflict and that have
defined us as subjects through memory, imagination, culture and
technology. The chapters in this book present an interdisciplinary
approach which draws upon, but does not privilege archaeology,
anthropology, military and cultural history, art history, cultural
geography, and museum and heritage studies. The complexity of
modern conflict demands a coherent, integrated, and sensitized
hybrid approach which calls on different disciplines where they
overlap in a shared common terrain - that of the materiality of
conflict and its aftermath in relation to the human body. Bodies in
Conflict brings together the diverse interests and expertise of a
host of disciplines to create a new intellectual engagement with
our corporeal nature in times of conflict.
Contested Objects breaks new ground in the interdisciplinary study
of material culture. Its focus is on the rich and varied legacy of
objects from the First World War as the global conflict that
defined the twentieth century. From the iconic German steel helmet
to practice trenches on Salisbury Plain, and from the 'Dazzle Ship'
phenomenon through medal-wearing, diary-writing, trophy collecting,
the market in war souvenirs and the evocative reworking of European
objects by African soldiers, this book presents a dazzling array of
hitherto unseen worlds of the Great War. The innovative and
multidisciplinary approach adopted here follows the lead
established by Nicholas J. Saunders' Matters of Conflict (Routledge
2004), and extends its geographical coverage to embrace a truly
international perspective. Australia, Africa, Italy, Germany,
France, Belgium and Britain are all represented by a
cross-disciplinary group of scholars working in archaeology,
anthropology, cultural history, art history, museology, and
cultural heritage. The result is a volume that resonates with
richly documented and theoretically informed case studies that
illustrate how the experiences of war can be embodied in and
represented by an endless variety of artefacts, whose 'social
lives' have endured for almost a century and that continue to shape
our perceptions of an increasingly dangerous world.
Icons of Power investigates why the image of the cat has been such
a potent symbol in the art, religion and mythology of indigenous
American cultures for three thousand years. The jaguar and the puma
epitomize ideas of sacrifice, cannibalism, war, and status in a
startling array of graphic and enduring images. Natural and
supernatural felines inhabit a shape-shifting world of sorcery and
spiritual power, revealing the shamanic nature of Amerindian world
views. This pioneering collection offers a unique pan-American
assessment of the feline icon through the diversity of cultural
interpretations, but also striking parallels in its associations
with hunters, warriors, kingship, fertility, and the sacred nature
of political power. Evidence is drawn from the pre-Columbian Aztec
and Maya of Mexico, Peruvian, and Panamanian civilizations, through
recent pueblo and Iroquois cultures of North America, to current
Amazonian and Andean societies. This well-illustrated volume is
essential reading for all who are interested in the symbolic
construction of animal icons, their variable meanings, and their
place in a natural world conceived through the lens of culture. The
cross-disciplinary approach embraces archaeology, anthropology, and
art history.
Contested Objects breaks new ground in the interdisciplinary study
of material culture. Its focus is on the rich and varied legacy of
objects from the First World War as the global conflict that
defined the twentieth century. From the iconic German steel helmet
to practice trenches on Salisbury Plain, and from the 'Dazzle Ship'
phenomenon through medal-wearing, diary-writing, trophy collecting,
the market in war souvenirs and the evocative reworking of European
objects by African soldiers, this book presents a dazzling array of
hitherto unseen worlds of the Great War. The innovative and
multidisciplinary approach adopted here follows the lead
established by Nicholas J. Saunders' Matters of Conflict (Routledge
2004), and extends its geographical coverage to embrace a truly
international perspective. Australia, Africa, Italy, Germany,
France, Belgium and Britain are all represented by a
cross-disciplinary group of scholars working in archaeology,
anthropology, cultural history, art history, museology, and
cultural heritage. The result is a volume that resonates with
richly documented and theoretically informed case studies that
illustrate how the experiences of war can be embodied in and
represented by an endless variety of artefacts, whose 'social
lives' have endured for almost a century and that continue to shape
our perceptions of an increasingly dangerous world.
Matters of Conflict looks at the definitive invention of the
twentieth century - industrialised war - and its vast and varied
material legacy. From trench art and postcards through avant-garde
art, museum collections and prosthetic limbs to battlefield
landscapes, the book examines the First World War and its
significance through the things it left behind. The contributions
come from a multidisciplinary perspective, uniting previously
compartmentalized disciplines such as anthropology, archaeology,
cultural history, museology and art history in their focus on
material culture. This innovative, hybrid approach investigates the
'social life' of objects in order to understand them as they move
through time and space and intersect the lives of all who came in
contact with them.
The resulting survey sets a new agenda for study of the First World
War, and ultimately of all twentieth-century conflict.
Matters of Conflict looks at the definitive invention of the
twentieth century - industrialised war - and its vast and varied
material legacy. From trench art and postcards through avant-garde
art, museum collections and prosthetic limbs to battlefield
landscapes, the book examines the First World War and its
significance through the things it left behind. The contributions
come from a multidisciplinary perspective, uniting previously
compartmentalized disciplines such as anthropology, archaeology,
cultural history, museology and art history in their focus on
material culture. This innovative, hybrid approach investigates the
'social life' of objects in order to understand them as they move
through time and space and intersect the lives of all who came in
contact with them.
The resulting survey sets a new agenda for study of the First World
War, and ultimately of all twentieth-century conflict.
Icons of Power investigates why the image of the cat has been such a potent symbol in the art, religion and mythology of indigenous American cultures for three thousand years. The jaguar and the puma epitomize ideas of sacrifice, cannibalism, war, and status in a startling array of graphic and enduring images. Natural and supernatural felines inhabit a shape-shifting world of sorcery and spiritual power, revealing the shamanic nature of Amerindian world views. This pioneering collection offers a unique pan-American assessment of the feline icon through the diversity of cultural interpretations, but also striking parallels in its associations with hunters, warriors, kingship, fertility, and the sacred nature of political power. Evidence is drawn from the pre-Columbian Aztec and Maya of Mexico, Peruvian, and Panamanian civilizations, through recent pueblo and Iroquois cultures of North America, to current Amazonian and Andean societies. This well-illustrated volume is essential reading for all who are interested in the symbolic construction of animal icons, their variable meanings, and their place in a natural world conceived through the lens of culture. The cross-disciplinary approach embraces archaeology, anthropology, and art history.
Modern Conflict and the Senses investigates the sensual worlds
created by modern war, focusing on the sensorial responses embodied
in and provoked by the materiality of conflict and its aftermath.
The volume positions the industrialized nature of twentieth-century
war as a unique cultural phenomenon, in possession of a material
and psychological intensity that embodies the extremes of human
behaviour, from total economic mobilization to the unbearable
sadness of individual loss. Adopting a coherent and integrated
hybrid approach to the complexities of modern conflict, the book
considers issues of memory, identity, and emotion through wartime
experiences of tangible sensations and bodily requirements. This
comprehensive and interdisciplinary collection draws upon
archaeology, anthropology, military and cultural history, art
history, cultural geography, and museum and heritage studies in
order to revitalize our understandings of the role of the senses in
conflict.
Modern Conflict and the Senses investigates the sensual worlds
created by modern war, focusing on the sensorial responses embodied
in and provoked by the materiality of conflict and its aftermath.
The volume positions the industrialized nature of twentieth-century
war as a unique cultural phenomenon, in possession of a material
and psychological intensity that embodies the extremes of human
behaviour, from total economic mobilization to the unbearable
sadness of individual loss. Adopting a coherent and integrated
hybrid approach to the complexities of modern conflict, the book
considers issues of memory, identity, and emotion through wartime
experiences of tangible sensations and bodily requirements. This
comprehensive and interdisciplinary collection draws upon
archaeology, anthropology, military and cultural history, art
history, cultural geography, and museum and heritage studies in
order to revitalize our understandings of the role of the senses in
conflict.
Twentieth-century war is a unique cultural phenomenon and the last
two decades have seen significant advances in our ability to
conceptualize and understand the past and the character of modern
technological warfare. At the forefront of these developments has
been the re-appraisal of the human body in conflict, from the
ethics of digging up First World War bodies for television
programmes to the contentious political issues surrounding the
reburial of Spanish Civil War victims, the relationships between
the war body and material culture (e.g. clothing, and prostheses),
ethnicity and identity in body treatment, and the role of the 'body
as bomb' in Iraq, Afghanistan and beyond. Focused on material
culture, Bodies in Conflict revitalizes investigations into the
physical and symbolic worlds of modern conflict and that have
defined us as subjects through memory, imagination, culture and
technology. The chapters in this book present an interdisciplinary
approach which draws upon, but does not privilege archaeology,
anthropology, military and cultural history, art history, cultural
geography, and museum and heritage studies. The complexity of
modern conflict demands a coherent, integrated, and sensitized
hybrid approach which calls on different disciplines where they
overlap in a shared common terrain - that of the materiality of
conflict and its aftermath in relation to the human body. Bodies in
Conflict brings together the diverse interests and expertise of a
host of disciplines to create a new intellectual engagement with
our corporeal nature in times of conflict.
Engraved shell-cases, bullet-crucifixes, letter openers and
cigarette lighters made of shrapnel and cartridges, miniature
aeroplanes and tanks, talismanic jewellery, embroidery, objects
carved from stone, bone and wood - all of these things are trench
art, the misleading name given to the dazzling array of objects
made from the waste of war, in particular the Great War of
1914-1918 and the inter-war years. And they are the subject of
Nicholas Saunders's pioneering study which is now republished in a
revised edition in paperback. He reveals the lost world of trench
art, for every piece relates to the story of the momentous
experience of its maker - whether front-line soldier, prisoner of
war, or civilian refugee. The objects resonate with the alternating
terror and boredom of war, and those created by the prisoners
symbolize their struggle for survival in the camps. Many of these
items were poignant souvenirs bought by battlefield pilgrims
between 1919 and 1939 and kept brightly polished on mantelpieces,
often for a lifetime. Nicholas Saunders investigates their origins
and how they were made, exploring their personal meaning and
cultural significance. He also offers an important categorization
of types which will be a useful guide for collectors.
In the desert sands of southern Jordan lies a once-hidden conflict
landscape along the Hejaz Railway. Built at the beginning of the
twentieth-century, this narrow-gauge 1,320 km track stretched from
Damascus to Medina and served to facilitate participation in the
annual Muslim Hajj to Mecca. The discovery and archaeological
investigation of an unknown landscape of insurgency and
counter-insurgency along this route tells a different story of the
origins of modern guerrilla warfare, the exploits of T. E.
Lawrence, Emir Feisal, and Bedouin warriors, and the dramatic
events of the Arab Revolt of 1916-18. Ten years of research in this
prehistoric terrain has revealed sites lost for almost 100 years:
vast campsites occupied by railway builders; Ottoman Turkish
machine-gun redoubts; Rolls Royce Armoured Car raiding camps; an
ephemeral Royal Air Force desert aerodrome; as well as the actual
site of the Hallat Ammar railway ambush. This unique and richly
illustrated account from Nicholas Saunders tells, in intimate
detail, the story of a seminal episode of the First World War and
the reshaping of the Middle East that followed.
The new interdisciplinary study of modern conflict archaeology has
developed rapidly over the last decade. Its anthropological
approach to modern conflicts, their material culture and their
legacies has freed such investigations from the straitjacket of
traditional 'battlefield archaeology'. It offers powerful new
methodologies and theoretical insights into the nature and
experience of industrialised war, whether between nation states or
as civil conflict, by individuals as well as groups and by women
and children, as well as men of fighting age. The complexities of
studying wars within living memory demand a new response - a
sensitised, cross-disciplinary approach which draws on many other
kinds of academic study but which does not privilege any particular
discipline. It is the most democratic kind of archaeology - one
which takes a bottom-up approach - in order to understand the web
of emotional, military, political, economic and cultural
experiences and legacies of conflict. These 18 papers offer a
coherent demonstration of what modern conflict archaeology is and
what it is capable of and offers an intellectual home for those not
interested in traditional 'war studies' or military history, but
who respond to the idea of a multidisciplinary approach to all
modern conflict.
A true "first," this encyclopedia is the only comprehensive guide
ever published on the archaeology and traditional culture of the
Caribbean. In The Peoples of the Caribbean, archaeologist Nicholas
J. Saunders assembles for the first time a comprehensive sourcebook
on the archaeology, folklore, and mythology of the entire region,
charting a story 7,000 years in the making. Drawing on decades of
study in the Caribbean and South America, Saunders explores
landmark archaeological sites, such as Caguana in Puerto Rico, with
its ceremonial architecture and ballcourts, and plantation sites,
such as Jamaica's Drax Hall. The author dives into the underwater
archaeology of Spanish treasure galleons and untangles stories of
cannibalism, zombies, and hallucinogenic snuffing rituals. He
examines the impact of key Europeans, such as Christopher Columbus,
and introduces readers to the native people, such as the Arawak,
who welcomed them. Bringing the story up-to-date, Saunders
chronicles the struggle of the indigenous people, from the Caribs
of Dominica to the Taino of the Dominican Republic, trying to
reclaim and revitalize their historical cultural identity. 500 A-Z
entries on all major prehistoric civilizations and archaeological
sites ranging from Amazons and Black Legend to Shamanism and Vodoun
Comprehensive introductory essay providing a framework of the
archaeological and cultural heritage of the Caribbean peoples
References with each entry as well as a comprehensive end-of-volume
bibliography, making further research easy Chronology of the
Caribbean's diverse prehistoric, colonial, and modern peoples from
c. 5,000 B.C. to the present
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