How can archaeologists interpret ancient art and images if they do not treat them as symbols or signifiers of identity? Traditional approaches to the archaeology of art have borrowed from the history of art and the anthropology of art by focusing on iconography, meaning, communication and identity. This puts the archaeology of art at a disadvantage as an understanding of iconography and meaning requires a detailed knowledge of historical or ethnographic context unavailable to many archaeologists. Rather than playing to archaeology’s weaknesses, the authors argue that an archaeology of art should instead play to archaeology’s strength: the material character of archaeological evidence. Using case studies - examining rock art, figurines, beadwork, murals, coffin decorations, sculpture and architecture from Europe, the Americas, Asia, Australia, and north Africa -the authors develop an understanding of the affective and effective nature of ancient art and imagery. An analysis of a series of material-based practices, from gesture and improvisation to miniaturisation and gigantism, assembly and disassembly and the use of distinctions in colour enable key concepts, such as style and meaning, to be re-imagined as affective practices. Recasting the archaeology of art as the study of affects offers a new prospectus for the study of ancient art and imagery.

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.

Elements of Architecture explores new ways of engaging architecture in archaeology. It conceives of architecture both as the physical evidence of past societies and as existing beyond the physical environment, considering how people in the past have not just dwelled in buildings but have existed within them. The book engages with the meeting point between these two perspectives. For although archaeologists must deal with the presence and absence of physicality as a discipline, which studies humans through things, to understand humans they must also address the performances, as well as temporal and affective impacts, of these material remains. The contributions in this volume investigate the way time, performance and movement, both physically and emotionally, are central aspects of understanding architectural assemblages. It is a book about the constellations of people, places and things that emerge and dissolve as affective, mobile, performative and temporal engagements. This volume juxtaposes archaeological research with perspectives from anthropology, architecture, cultural geography and philosophy in order to explore the kaleidoscopic intersections of elements coming together in architecture. Documenting the ephemeral, relational, and emotional meeting points with a category of material objects that have defined much research into what it means to be human, Elements of Architecture elucidates and expands upon a crucial body of evidence which allows us to explore the lives and interactions of past societies.

An attempt to use archaeological materials to investigate the colonization of southeastern Africa during the period 1500 to 1900. Perry demonstrates the usefulness of archaeology in bypassing the biases of the ethnohistorical and documentary record and generating a more comprehensive understanding of history. Special attention is paid to the period of state formation in Swaziland and a critique of the `Settler Model', which the author finds to be invalid.

In 1984, Perry went to Swaziland, in southern Africa, to do archaeological fieldwork on the emergence of the Swazi state. He concentrated on the unsanctioned realms of the recent history, the Mfecane/Difaqane period, and soon discovered that no archaeology had been undertaken and that the official r.

The Archaeology of Seeing provides readers with a new and provocative understanding of material culture through exploring visual narratives captured in cave and rock art, sculpture, paintings, and more. The engaging argument draws on current thinking in archaeology, on how we can interpret the behaviour of people in the past through their use of material culture, and how this affects our understanding of how we create and see art in the present. Exploring themes of gender, identity, and story-telling in visual material culture, this book forces a radical reassessment of how the ability to see makes us and our ancestors human; as such, it will interest lovers of both art and archaeology. Illustrated with examples from around the world, from the earliest art from hundreds of thousands of years ago, to the contemporary art scene, including street art and advertising, Janik cogently argues that the human capacity for art, which we share with our most ancient ancestors and cousins, is rooted in our common neurophysiology. The ways in which our brains allow us to see is a common heritage that shapes the creative process; what changes, according to time and place, are the cultural contexts in which art is produced and consumed. The book argues for an innovative understanding of art through the interplay between the way the human brain works and the culturally specific creation and interpretation of meaning, making an important contribution to the debate on art/archaeology.

Recent efforts to engage more explicitly with the interpretation of emotions in archaeology have sought new approaches and terminology to encourage archaeologists to take emotions seriously. This is part of a growing awareness of the importance of senses—what we see, smell, hear, and feel—in the constitution and reconstitution of past social and cultural lives. Yet research on emotion in archaeology remains limited, despite the fact that such states underpin many studies of socio-cultural transformation. The Archaeology of Anxiety draws together papers that examine the local complexities of anxiety as well as the variable stimuli—class or factional struggle, warfare, community construction and maintenance, personal turmoil, and responsibilities to (and relationships with) the dead—that may generate emotional responses of fear, anxiousness, worry, and concern. The goal of this timely volume is to present fresh research that addresses the material dimension of rites and performances related to the mitigation and negotiation of anxiety as well as the role of material culture and landscapes in constituting and even creating periods or episodes of anxiety.

For the past 200 years archaeological work has provided new information that allows us to peer into the past and open chapters of human history that have not been read for centuries, or even millennia. In The Archaeology of the Bible James K. Hoffmeier provides the reader with an incisive account of archaeology's role in shaping our understanding of the biblical texts. Fundamental issues addressed throughout include how archaeological discoveries relate to biblical accounts, and the compatibility of using scientific disciplines to prove or disprove a religious book such as the Bible. This work is an ideal introduction to the societies and events of the Ancient Near East and their relation to our interpretation of the Bible.

Colonialism may have significantly changed the history of North America, but its impact on Native Americans has been greatly misunderstood. In this book, Neal Ferris offers alternative explanations of colonial encounters that emphasize continuity as well as change affecting Native behaviors. He examines how communities from three aboriginal nations in what is now southwestern Ontario negotiated the changes that accompanied the arrival of Europeans and maintained a cultural continuity with their pasts that has been too often overlooked in conventional Òmaster narrativeÓ histories of contact. In reconsidering Native adaptation and resistance to colonial British rule, Ferris reviews five centuries of interaction that are usually read as a single event viewed through the lens of historical bias. He first examines patterns of traditional lifeway continuity among the Ojibwa, demonstrating their ability to maintain seasonal mobility up to the mid-nineteenth century and their adaptive response to its loss. He then looks at the experience of refugee Delawares, who settled among the Ojibwa as a missionary-sponsored community yet managed to maintain an identity distinct from missionary influences. And he shows how the archaeological history of the Six Nations Iroquois reflected patterns of negotiating emergent colonialism when they returned to the region in the 1780s, exploring how families managed tradition and the contemporary colonial world to develop innovative ways of revising and maintaining identity. The Archaeology of Native-Lived Colonialism convincingly utilizes historical archaeology to link the Native experience of the eighteenth and nineteenth centuries to the deeper history of sixteenth- and seventeenth-century interactions and with pre-European times. It shows how these Native communities succeeded in retaining cohesiveness through centuries of foreign influence and material innovations by maintaining ancient, adaptive social processes that both incorporated European ideas and reinforced historically understood notions of self and community.

This cutting-edge text offers an introduction to the emerging field of media archaeology and analyses the innovative theoretical and artistic methodology used to excavate current media through its past. Written with a steampunk attitude, What is Media Archaeology? examines the theoretical challenges of studying digital culture and memory and opens up the sedimented layers of contemporary media culture. The author contextualizes media archaeology in relation to other key media studies debates including software studies, German media theory, imaginary media research, new materialism and digital humanities. What is Media Archaeology? advances an innovative theoretical position while also presenting an engaging and accessible overview for students of media, film and cultural studies. It will be essential reading for anyone interested in the interdisciplinary ties between art, technology and media.