What is the archaeology of the body and how can it change the way we experience the past? This book, one of the first to appear on the subject, records and evaluates the emergence of this new direction of cross-disciplinary research, and examines the potential of incorporating some of its insights into archaeology. It will be of interest to students, researchers, and teachers in archaeology, as well as in cognate disciplines such as anthropology and history.

While written sources on the history of Greece have been studied extensively, no systematic attempt has been made to examine photography as an important cultural and material process. This is surprising, given that Modern Greece and photography are almost peers: both are cultural products of the 1830s, and both actively converse with modernity. Camera Graeca: Photographs, Narratives, Materialities fills this lacuna. It is the first inter-disciplinary volume to examine critically and in a theorised manner the entanglement of Greece with photography. The book argues that photographs and the photographic process as a whole have been instrumental in the reproduction of national imagination, in the consolidation of the nation-building process, and in the generation and dissemination of state propaganda. At the same time, it is argued that the photographic field constitutes a site of memory and counter-memory, where various social actors intervene actively and stake their discursive, material, and practical claims. As such, the volume will be of relevance to scholars and photographers, worldwide. The book is divided into four, tightly integrated parts. The first, 'Imag(in)ing Greece', shows that the consolidation of Greek national identity constituted a material-cum-representational process, the projection of an imagery, although some photographic production sits uneasily within the national canon, and may even undermine it. The second part, 'Photographic narratives, alternative histories', demonstrates the narrative function of photographs in diary-keeping and in photobooks. It also examines the constitution of spectatorship through the combination of text and image, and the role of photography as a process of materializing counter-hegemonic discourses and practices. The third part, 'Photographic matter-realities', foregrounds the role of photography in materializing state propaganda, national memory, and war. The final part, 'Photographic ethnographiesa

Archaeology, Nation, and Race is a must-read book for students of archaeology and adjacent fields. It demonstrates how archaeology and concepts of antiquity have shaped, and have been shaped by colonialism, race, and nationalism. Structured as a lucid and lively dialogue between two leading scholars, the volume compares modern Greece and modern Israel - two prototypical and influential cases - where archaeology sits at the very heart of the modern national imagination. Exchanging views on the foundational myths, moral economies, and racial prejudices in the field of archaeology and beyond, Hamilakis and Greenberg explore topics such as the colonial origins of national archaeologies, the crypto-colonization of the countries and their archaeologies, the role of archaeology as a process of purification, and the racialization and 'whitening' of Greece and Israel and their archaeological and material heritage. They conclude with a call for decolonization and the need to forge alliances with subjugated communities and new political movements.

The editors and contributors to this volume focus on the inherent political nature of archaeology and its impact on the practice of the discipline. Pointing to the discipline's history of advancing imperialist, colonialist, and racist objectives, they insist that archaeology must rethink its muted professional stance and become more overtly active agents of change. The discipline is not about an abstract "archaeological record" but about living individuals and communities, whose lives and heritage suffer from the abuse of power relationships with states and their agents. Only by recognizing this power disparity, and adopting a political ethic for the discipline, can archaeology justify its activities. Chapters range from a critique of traditional ethical codes, to examinations of the capitalist motivations and structures within the discipline, to calls for an engaged, emancipatory archaeology that improves the lives of the people with whom archaeologists work. A direct challenge to the discipline, this volume will provoke discussion, disagreement, and inspiration for many in the field.

This book is an exciting new look at how archaeology has dealt with the bodily senses and offers an argument for how the discipline can offer a richer glimpse into the human sensory experience. Yannis Hamilakis shows how, despite its intensely physical engagement with the material traces of the past, archaeology has mostly neglected multi-sensory experience, instead prioritising isolated vision and relying on the Western hierarchy of the five senses. In place of this limited view of experience, Hamilakis proposes a sensorial archaeology that can unearth the lost, suppressed, and forgotten sensory and affective modalities of humans. Using Bronze Age Crete as a case study, Hamilakis shows how sensorial memory can help us rethink questions ranging from the production of ancestral heritage to large-scale social change, and the cultural significance of monuments. Hamilakis points the way to reconstituting archaeology as a sensorial and affective multi-temporal practice.

The editors and contributors to this volume focus on the inherent political nature of archaeology and its impact on the practice of the discipline. Pointing to the discipline's history of advancing imperialist, colonialist, and racist objectives, they insist that archaeology must rethink its muted professional stance and become more overtly active agents of change. The discipline is not about an abstract "archaeological record" but about living individuals and communities, whose lives and heritage suffer from the abuse of power relationships with states and their agents. Only by recognizing this power disparity, and adopting a political ethic for the discipline, can archaeology justify its activities. Chapters range from a critique of traditional ethical codes, to examinations of the capitalist motivations and structures within the discipline, to calls for an engaged, emancipatory archaeology that improves the lives of the people with whom archaeologists work. A direct challenge to the discipline, this volume will provoke discussion, disagreement, and inspiration for many in the field.

What is the archaeology of the body and how can it change the way we experience the past? This book, one of the first to appear on the subject, records and evaluates the emergence of this new direction of cross-disciplinary research, and examines the potential of incorporating some of its insights into archaeology. It will be of interest to students, researchers, and teachers in archaeology, as well as in cognate disciplines such as anthropology and history.

While written sources on the history of Greece have been studied extensively, no systematic attempt has been made to examine photography as an important cultural and material process. This is surprising, given that Modern Greece and photography are almost peers: both are cultural products of the 1830s, and both actively converse with modernity. Camera Graeca: Photographs, Narratives, Materialities fills this lacuna. It is the first inter-disciplinary volume to examine critically and in a theorised manner the entanglement of Greece with photography. The book argues that photographs and the photographic process as a whole have been instrumental in the reproduction of national imagination, in the consolidation of the nation-building process, and in the generation and dissemination of state propaganda. At the same time, it is argued that the photographic field constitutes a site of memory and counter-memory, where various social actors intervene actively and stake their discursive, material, and practical claims. As such, the volume will be of relevance to scholars and photographers, worldwide. The book is divided into four, tightly integrated parts. The first, 'Imag(in)ing Greece', shows that the consolidation of Greek national identity constituted a material-cum-representational process, the projection of an imagery, although some photographic production sits uneasily within the national canon, and may even undermine it. The second part, 'Photographic narratives, alternative histories', demonstrates the narrative function of photographs in diary-keeping and in photobooks. It also examines the constitution of spectatorship through the combination of text and image, and the role of photography as a process of materializing counter-hegemonic discourses and practices. The third part, 'Photographic matter-realities', foregrounds the role of photography in materializing state propaganda, national memory, and war. The final part, 'Photographic ethnographiesa

This innovative, extensively illustrated study examines how classical antiquities and archaeology contributed significantly to the production of the modern Greek nation and its national imagination. It also shows how, in return, national imagination has created and shaped classical antiquities and archaeological practice from the nineteenth century to the present. Yannis Hamilakis covers a diverse range of topics, including the role of antiquities in the foundation of the Greek state in the nineteenth century, the Elgin marbles controversy, the role of archaeology under dictatorial regimes, the use of antiquities in the detention camps of the Greek civil war, and the discovery of the so-called tomb of Philip of Macedonia.

This innovative, extensively illustrated study examines how classical antiquities and archaeology contributed significantly to the production of the modern Greek nation and its national imagination. It also shows how, in return, national imagination has created and shaped classical antiquities and archaeological practice from the nineteenth century to the present. Yannis Hamilakis covers a diverse range of topics, including the role of antiquities in the foundation of the Greek state in the nineteenth century, the Elgin marbles controversy, the role of archaeology under dictatorial regimes, the use of antiquities in the detention camps of the Greek civil war, and the discovery of the so-called tomb of Philip of Macedonia.

In this volume, K.S. Brown and Yannis Hamilakis bring together scholars of history, archaeology, and anthropology to explore the located and contextual nature of historical narratives. The contributors analyze contested historic rituals, building styles, and traditions-looking through the unique lens of twentieth-century Greek identity-paying particular attention to the ways these social phenomena and cultural artifacts manifest tension between 'official' and 'unofficial' narratives of the past. Though focused on the changing historical basis of Greek culture and identity, this work further serves as an important theoretical contemplation of how our view of the past is shaped by our relationship with the present.

Archaeology, Nation, and Race is a must-read book for students of archaeology and adjacent fields. It demonstrates how archaeology and concepts of antiquity have shaped, and have been shaped by colonialism, race, and nationalism. Structured as a lucid and lively dialogue between two leading scholars, the volume compares modern Greece and modern Israel - two prototypical and influential cases - where archaeology sits at the very heart of the modern national imagination. Exchanging views on the foundational myths, moral economies, and racial prejudices in the field of archaeology and beyond, Hamilakis and Greenberg explore topics such as the colonial origins of national archaeologies, the crypto-colonization of the countries and their archaeologies, the role of archaeology as a process of purification, and the racialization and 'whitening' of Greece and Israel and their archaeological and material heritage. They conclude with a call for decolonization and the need to forge alliances with subjugated communities and new political movements.

How can we find alternative, sensorially rich and affective ways of engaging with the material past in the present? How can photography play a central role in archaeological narratives, beyond representation and documentation? This photo-book engages with these questions, not through conventional academic discourse but through evocative creative practice. The book is, at the same time, a site guide of sorts: a photographic guide to the archaeological site of the Sanctuary of Poseidon in Kalaureia, on the island of Poros, in Greece. Ancient and not-so-ancient stones, pine trees that were “wounded” for their resin, people who lived amongst the classical ruins, and the tensions and the clashes with the archaeological apparatus and its regulations, all become palpable, affectively close and immediate. Furthermore, the book constitutes an indirect but concrete proposal for the adoption of archaeological photo-ethnography as a research as well as public communication tool for critical heritage studies, today.

It can be suggested that today we live in a new nomadic age, an age of global movement and migration. For the majority of people on earth, however, especially from the global south, crossing national borders and moving from the global south to the global north is risky, perilous, often lethal. Many are forced or compelled to migrate due to war, persecution, or the structural violence of poverty and deprivation. The phenomenon of forced and undocumented migration is one of the defining features of our era. And while the topic is at the centre of attention and study in many scholarly fields, the materiality of the phenomenon and its sensorial and mnemonic dimensions are barely understood and analysed. In this regard, contemporary archaeology can make an immense contribution. This book, the first archaeological anthology on the topic, takes up the challenge and explores the diverse intellectual, methodological, ethical, and political frameworks for an archaeology of forced and undocumented migration in the present. Matters of historical depth, theory, method, ethics and politics as well as heritage value and public representation are investigated and analysed, adopting a variety of perspectives. The book contains both short reflections and more substantive treatments and case studies from around the world, from the Mexico-USA border to Australia, and utilizes a diversity of narrative formats, including several photographic essays.

Seventeen papers, based on those given at a workshop held in Lampeter in 2000, discuss a wide range of issues and themes of archaeology as taught in higher education, including courses, training, links with the professional sector, assessment methods, qualifications, fieldwork, the role of the teaching institution, supervision, bureaucracy, student choice and the recent Benchmark statement for archaeology launched by the Quality Assurance Agency. Aiming to be proactive rather than reactive, the contributors scrutinise existing teaching practices and highlight the importance of this type of debate in thinking about the future.

This book is an exciting new look at how archaeology has dealt with the bodily senses and offers an argument for how the discipline can offer a richer glimpse into the human sensory experience. Yannis Hamilakis shows how, despite its intensely physical engagement with the material traces of the past, archaeology has mostly neglected multi-sensory experience, instead prioritising isolated vision and relying on the Western hierarchy of the five senses. In place of this limited view of experience, Hamilakis proposes a sensorial archaeology that can unearth the lost, suppressed, and forgotten sensory and affective modalities of humans. Using Bronze Age Crete as a case study, Hamilakis shows how sensorial memory can help us rethink questions ranging from the production of ancestral heritage to large-scale social change, and the cultural significance of monuments. Hamilakis points the way to reconstituting archaeology as a sensorial and affective multi-temporal practice.