Bibliografías temáticas / Anthropology, Archaeology. Art

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Literatura académica sobre el tema "Anthropology, Archaeology. Art"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 15 de febrero de 2022

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Artículos de revistas sobre el tema "Anthropology, Archaeology. Art"

Heras, Ion Fernandez de las. "Making: Anthropology, Archaeology, Art and Architecture". Cadernos de Campo (São Paulo, 1991) 24, n.º 24 (17 de junio de 2016): 598. http://dx.doi.org/10.11606/issn.2316-9133.v24i24p598-602.

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Andía, Juan J. Rivera. "Ingold, Tim: Making, Anthropology, Archaeology, Art, and Architecture". Anthropos 110, n.º 1 (2015): 232–34. http://dx.doi.org/10.5771/0257-9774-2015-1-232-1.

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Charlton, Thomas H. "Art and archaeology: A potpourri". Reviews in Anthropology 22, n.º 3 (octubre de 1993): 185–99. http://dx.doi.org/10.1080/00988157.1993.9978063.

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Porr, Martin. "Rock art as art". Time and Mind 12, n.º 2 (3 de abril de 2019): 153–64. http://dx.doi.org/10.1080/1751696x.2019.1609799.

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Jeevendrampillai, David. "Making: Anthropology, archaeology, art and architecture, by Tim Ingold". Anthropological Forum 25, n.º 1 (23 de mayo de 2014): 95–97. http://dx.doi.org/10.1080/00664677.2014.906025.

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Robb, John. "‘Art’ in Archaeology and Anthropology: An Overview of the Concept". Cambridge Archaeological Journal 27, n.º 4 (11 de septiembre de 2017): 587–97. http://dx.doi.org/10.1017/s0959774317000725.

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The concept of art has proved controversial in archaeology and anthropology. Many feel that the concept, developed to fit high art in modern Western society, is inappropriate for objects made for other uses, in other times, or in other cultures. Yet there is no widely agreed critique or alternative concept. This introduction reviews responses to this dilemma, ranging from using the concept uncritically, using the term ‘art’ simply as an archaeological convenience to refer to things such as petroglyphs and figurines, and treating art simply as material culture. It then explores the recent concepts of art as affective material culture, as socially defined networks, and as locally defined aesthetic action. Finally, it raises the possibility that art is our local category of the kind of powerful objects found in many cultures.

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Solheim, Wilhelm G. "Archaeology and Anthropology in Southeast Asia". Journal of Southeast Asian Studies 18, n.º 2 (septiembre de 1987): 175–81. http://dx.doi.org/10.1017/s0022463400020488.

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I agreed in the fall of 1979 to be the guest editor of a special issue of the Journal of Southeast Asian Studies on the state of the art of archaeology and anthropology in Southeast Asia. This special issue was to be published in March 1984 and I was to have the papers to the editor by the 15th of October 1983; plenty of time I thought. I first attempted to get two senior American anthropologists to be associate editors, one for Mainland Southeast Asia and one for Island Southeast Asia. This did not work out so in the fall of 1980 I started to organize authors for each country. By the summer of 1981 I had arranged authors for thirteen reports.

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DuBois, Thomas A. "Trends in Contemporary Research on Shamanism". Numen 58, n.º 1 (2011): 100–128. http://dx.doi.org/10.1163/156852710x514339-2.

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Recent research on the topic of shamanism is reviewed and discussed. Included are works appearing since the early 1990s in the fields of anthropology, religious studies, archaeology, cognitive sciences, ethnomusicology, medical anthropology, art history, and ethnobotany. The survey demonstrates a continued strong interest in specific ethnographic case studies focusing on communities which make use of shamanic practices. Shamanic traditions are increasingly studied within their historical and political contexts, with strong attention to issues of research ideology. New trends in the study of cultural revitalization, neoshamanism, archaeology, gender, the history of anthropology, and the cognitive study of religion are highlighted.

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Berman, Mary Jane. "Art and Archaeology of Pre-Columbian Cuba:Art and Archaeology of Pre-Columbian Cuba." Museum Anthropology 23, n.º 1 (marzo de 1999): 56–57. http://dx.doi.org/10.1525/mua.1999.23.1.56.

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Goldhahn, Joakim. "Rock art worldings". Time and Mind 12, n.º 3 (3 de julio de 2019): 165–67. http://dx.doi.org/10.1080/1751696x.2019.1645525.

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Tesis sobre el tema "Anthropology, Archaeology. Art"

Sharpe, Heather Fiona. "From Hieron and Oikos the religious and secular use of Hellenistic and Greek Imperial bronze statuettes /". [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3210047.

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Thesis (Ph.D.)--Indiana University, Dept. of Art History, 2006.
Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0754. Adviser: Wolf Rudolph. "Title from dissertation home page (viewed March 16, 2007)."

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Mullin, John Joseph. "Civil Archaeology: using the Research Processes of Anthropology as a Classroom for Critical Thinking". W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626158.

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Bonga, Lily A. "Late Neolithic pottery from mainland Greece, ca. 5,300--4,300 B.C". Thesis, Temple University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564797.

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The Late Neolithic (defined here as the LN I of Sampson1993 and Coleman 1992) is both the culmination and the turning point of Greek Neolithic culture from the preceding phases. It lasts some 1,000 years, from approximately 5,300 to 4,300 B.C. The ceramic repertoire of the Late Neolithic period in Greece is a tremendously diverse body of material. Alongside this diversity, other aspects of the ceramic assemblage, such as Matt-painted and Black-burnished pottery, share broad similarities throughout regions, constituting a " koine." The commanlities, however, are most apparent during the earlier part of the Late Neolithic (LN Ia); in the later phase (LN Ib) phase, more regional variations proliferate than before.

In the Late Neolithic, all categories of pottery—monochrome, decorated, and undecorated—are at their technological and stylistic acme in comparison with earlier periods. While some of the pottery types demonstrate unbroken continuity and development from the preceding Early and Middle Neolithic phases, new specialized shapes and painting techniques are embraced.

For the first time in the Neolithic, shapes appear that are typically thought of by archaeologists as being for food processing (strainers and "cheese-pots"), cooking (tripod cooking pots and baking pans), and storing (pithoi ). More recent research, however, has demonstrated that these "utilitarian" vessels were more often than not used for purposes other than their hypothesized function. These new "utilitarian" vessels were to dominate the next and last phase of the Neolithic, the Final Neolithic (also called the Chalcolithic, Eneolithic, or LN II) when painted pottery disappears from most Greek assemblages just before the beginning of the Bronze Age.

During the past two decades, there has been much research into Late Neolithic Greece, particularly in Northern Greece (Macedonia). This dissertation incorporates the most up-to-date information from these recent excavations with the older material from sites in Thessaly, Central Greece, and Southern Greece. Since this study draws solely upon published material, both old and new, there are certain limitations to the type of analysis that can be performed. The approach, then, is more of an art-historical and historiographical overview than a rigorous archaeological analysis. It provides an overview of the major classes of pottery (decorated, monochrome, and undecorated) and their primary shapes, motifs, and technological aspects. While it emphasizes commonalities, regional and chronological variations are also highlighted. The technological means of production of vessels, their use, circulation, and deposition are also considered.

The structure of this paper is that each pottery chapter is devoted to a broad class (such as Matt-painted), which is broadly defined and then more closely examined at the regional level for chronological and stylistic variations. Likewise, a sub-section then discusses the technology of a particular class and its regional and or chronological similarities and differences. When necessary, outdated scholarship is addressed and rectified.

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Baumann, Matthew J. "An investigation into the date of the Piraeus Apollo". Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/292062.

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The purpose of this thesis is to study the bronze sculpture known as the Piraeus Apollo and to establish its date of manufacture. It may be the first known monumental bronze sculpture in Greece, dating to the late sixth or early fifth century, or it could be a second century Archaistic bronze. For this investigation several different methods are employed. First, the archaeological context is discussed by reexamining the excavation history. Then Apollo's place in the canon of Greek sculpture is established using an art historical approach with a focus on connoisseurship to find Apollo's place in the canon of Greek sculpture through comparisons with other Greek sculpture. Previous scholarship is key to this section of the thesis. It is then placed chronologically using the current understanding of ancient bronze casting technologies and scientific analysis. Through this analysis, the Piraeus Apollo arises as an example of the Lingering Archaic style from the beginning of the fifth century.

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Dochniak, Craig Charles 1964. "Kingship festival iconography in the Egyptian Archaic Period". Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/278001.

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The high degree of correlation existing between the subject matter visually depicted on Early Dynastic Egyptian objects and the year-names represented hieroglyphically on the Palermo Stone--an historical annal from the Fifth Dynasty--suggests that much Early Dynastic imagery was meant to serve as a dating device, a kind of pictorial year-name, based on the important event or events that occurred within the year. The selection of the historic events referred to in these year-names appears to be based on their compatibility with certain festivals associated with the king. These festivals express the theoretical model of kingship and therefore can be used to reconstruct the king's primary roles and responsibilities during the Early Dynastic Period. Such duties include the unification, protection and expansion of the king's realm--both Earthly and Cosmic; the insuring of the irrigation and fertility of the land; the foundation and dedication of important buildings and temples; and the reaffirmation and magical rejuvenation of his primeval powers as expressed in such festivals as the Sed.

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Babcock, Jennifer. "Anthropomorphized Animal Imagery on New Kingdom Ostraca and Papyri| Their Artistic and Social Significance". Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3635084.

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Because of the lack of provenance or accompanying text, the depictions of anthropomorphized animals on ancient Egyptian New Kingdom ostraca and papyri have long puzzled Egyptologists. Attempts to understand the ostraca usually focus on the role reversals where predatory animals serve their natural prey, which is evident in some of the motifs. Some scholars have suggested that these images are satirical and served as an outlet for mocking elite society. However, their social and cultural context, which has not been thoroughly explored until this dissertation, shows that it is unlikely that the images were considered to be negatively charged social satire. Rather, it is more likely that they were envisioned as humorous parodies of primarily elite imagery that were produced by individuals who considered themselves to be elite as well. "Anthropomorphized Animal Imagery on New Kingdom Ostraca and Papyri: Their Artistic and Social Significance" is also the first time the vignettes are given a full art historical treatment in which the formal qualities of the drawings are studied and evaluated. As a result, this dissertation addresses the aesthetic value of these drawings in ancient Egypt, which will be of interest to the discipline of art history on more general terms as well. Another section of this dissertation discusses the narrative potential of the papyri and ostraca on which these anthropomorphized images are drawn. Though the narrative qualities of these images have been discussed before, this dissertation addresses the broader concerns of visual narrative construction in ancient Egyptian art, which has thus far been given little scholarly attention. The figured ostraca and papyri on which these anthropomorphized animals are drawn show that visual narrative construction in ancient Egypt is not necessarily linear and sequential, but can also embody fluid, and more open-ended narrative constructions that is evident in not only the decorative programs of elite tombs, but in written ancient Egyptian literature as well.

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Senior, Louise Marie 1958. "Time and technological change: Ceramic production, labor, and economic transformation in a third millennium complex society (Tell Leilan, Syria)". Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282841.

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This study investigates changes in ceramics at Tell Leilan, Syria, during three consecutive periods between 2500 and 2200 B.C. These changes co-occur with significant socio-political changes: urbanization of the region and fledgling statehood. The approach developed to examine ceramic change in this work is Ceramic Technical Sequence Analysis (CTSA) which combines the strategies of ceramic ecology, the French technique et culture school, and behavioral archaeology. CTSA is also informed by practice theory; thus, the limitations of previous work in ceramic technology are reduced. This technologically-based work discloses that the ceramic change noted at Leilan is the result of intensified ceramic production, notably faster manufacturing techniques. Estimates of labor costs were attempted through proxy measures of time expended in procuring and processing raw materials, and in pottery production techniques, including vessel formation, decoration and firing. Investigations are ordered according to the chaine operatoires used in ceramic manufacture at Leilan, and each aspect of the chaine operatoire is specifically examined in regard to changes in time expended during manufacture activities. Though archaeologists often inform their research with scientific techniques, this project is atypical in the number of methods applied, as well as the additional information gleaned from interviews with contemporary artisan-craft potters (N > 40). Investigation of multiple lines of evidence, rather than reliance on a single technique, strengthen this study's conclusions. Data were derived from a variety of characterization techniques used in Materials Science and Geosciences. Neutron activation analysis (INAA), systematic refiring tests, examination of petrographic thin sections, strength testing, dilatometry studies (thermal expansion), xeroradiography, observation of and consultation with modern potters and macroscopic examination of artifacts, were used to observe changes in ceramic production between the three stratigraphically delineated temporal phases at Tell Leilan. Not every aspect of chaine operatoire informs equally, nor agrees, on the topic of time expenditure. Vessel forming techniques deduced through "pot reading" of manufacture marks left on vessel surfaces proved to be the most fruitful. Ceramic Technical Sequence Analysis is productive in investigation of ceramic change, and when guided by larger research questions, may provide a link between ceramic- and social change.

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Gilmore, R. Grant. "Putting Flesh on the Bones: Theoretical and Methodological Approaches to Butchery Analysis in Historical Archaeology". W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539626206.

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Regan, Peter andrew. "Heavy Metal Archaeology: A n Examination of Lead's Significance for the Interpretation of Archaeological Bone". W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539626623.

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Payne, Melissa. "Paintings as Information: The Anthropology of Images: A Consideration of Late Sixteenth and Seventeenth Century Netherlandish Painting in Relation to Foodways and Historical Archeology". W&M ScholarWorks, 1985. https://scholarworks.wm.edu/etd/1539625293.

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Libros sobre el tema "Anthropology, Archaeology. Art"

Landscapes, rock-art, and the dreaming: An archaeology of preunderstanding. London: Leicester University Press, 2002.

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Mee, Christopher. The Cypriote collections in the University of Liverpool and the Williamson Art Gallery and Museum. Jonsered: P. Åströms, 1998.

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Elizabeth, Burroughs y Nel Karel, eds. Life of bone: Art meets science. South Africa: Witwatersrand University Press, 2011.

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Ousterhout, Robert G. Osman Hamdi Bey & Amerikalılar: Arkeoloji, diplomasi sanat = Osman Hamdi Bey & the Americans : archaeology, diplomacy, art. İstanbul: Pera Müzesi, 2011.

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P, Silverman David, Brovarski Edward y Dallas Museum of Art, eds. Searching for ancient Egypt: Art, architecture, and artifacts from the University of Pennsylvania Museum of Archaeology and Anthropology. [Dallas, Tex.]: Dallas Museum of Art, 1997.

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Cynthia, Pederson, ed. Fissures. Canton, Conn: Singular Speech Press, 1993.

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Anthropology, University of Pennsylvania Museum of Archaeology and. Catalogue of the Etruscan gallery of the University of Pennsylvania Museum of Archaeology and Anthropology / Jean MacIntosh Turfa. Philadelphia: University of Pennsylvania, Museum of Archaeology and Anthropology, 2005.

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Fowler, Williams Lucy, ed. Guide to the North American ethnographic collections at the University of Pennsylvania Museum of Archaeology and Anthropology. Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology, 2003.

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Congressus Internationalis Fenno-Ugristarum. (6th 1985 Syktyvkar, Komi A.S.S.R.). Finno-Ugric studies in archaeology, anthropology and ethnography: Estonian papers presented at the Sixth International Finno-Ugric Congress (Syktyvkar, 24-30 July, 1985). Tallinn: [s.n.], 1990.

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Paul, Hill. Landscapes of war: The archaeology of aggression and defence. Stroud: Tempus, 2002.

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Capítulos de libros sobre el tema "Anthropology, Archaeology. Art"

Meeker, Michael E. "31. GREEKS WHO ARE MUSLIMS: COUNTER-NATIONALISM IN NINETEENTH CENTURY TRABZON". En Archaeology, Anthropology and Heritage in the Balkans and Anatolia, editado por David Shankland, 299–324. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463225438-016.

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"ARCHAEOLOGY, ANTHROPOLOGY, AND ROCK ART". En Introduction to Rock Art Research, 195–97. Routledge, 2016. http://dx.doi.org/10.4324/9781315426013-29.

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"Towards an archaeology of mimesis and rain-making in Namibian rock art". En The Archaeology and Anthropology of Landscape, 364–85. Routledge, 2003. http://dx.doi.org/10.4324/9780203202449-44.

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Harrison, Rodney y John Schofield. "Working Across Disciplines". En After Modernity. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780199548071.003.0009.

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In the previous chapter, we considered those methodologies that might be seen to characterize the archaeology of the contemporary past. One of the issues raised there was the extent to which an archaeology of the contemporary past is defined by, and is even reliant upon, working with and across a series of different academic disciplines and areas of subject specialisms. In this chapter, we will look in more detail at the relationship between the archaeology of the contemporary past and the various academic disciplines on which it draws and with which it overlaps. Rather than a field defined by a series of other academic disciplines, we argue that the archaeology of the contemporary past emerges from this review as a discipline characterized by a particular vision and approach to the material culture of the contemporary world. These issues are explored in relation to various examples which illustrate both the similarities and differences between an archaeology of the contemporary past, and those various specialisms with which it has close relations. This chapter will also explore the relationship between the archaeology of the contemporary past and contemporary art, both in terms of artistic engagements with the archaeology of the contemporary past and the idea of archaeology as a form of contemporary artistic practice. A number of authors have written in detail about the historical relationship between archaeology and anthropology (e.g. Gosden 1999), and we do not have space to cover the topic in the detail it deserves here. The relationship between archaeology and anthropology is, however, particularly relevant when we are considering the archaeology of the contemporary past, as in almost all instances we are considering the material remains of societies contemporary with us. Archaeology and anthropology, although closely related, have developed along divergent lines in the different countries of the world in which they are practised, so for this reason we will focus our discussion on the historical relationship between archaeology and anthropology in North America and Britain, and the role of an ‘anthropological archaeology’ in approaches to the archaeology of the contemporary past.

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Schnapp, Alain. "Between Antiquarians and Archaeologists—Continuities and Ruptures (2002)". En Histories of Archaeology. Oxford University Press, 2008. http://dx.doi.org/10.1093/oso/9780199550074.003.0022.

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The current renewal of interest in the history of archaeology has several causes, but it is primarily the result of the extraordinary extension of the discipline’s objectives and methods. During the last decades, the most far-flung regions of the earth have been subjected to systematic exploration, radiometric dating techniques have continually improved, DNA studies have contributed to the transformations of biological anthropology, and indeed the very process of human evolution has been cast in new light by the changing boundaries between human and animal behaviour. A natural science for many founding fathers of prehistory, a social science for those who emphasize its anthropological dimensions, archaeology has remained for others a historical discipline by virtue of its proximity to ancient languages and inscriptions. At one end of the spectrum, some archaeologists see themselves as specialists in material culture, able to deal with objects, both ancient and modern, as simultaneously technical and semiotic systems. At the other end, there are those who will put their faith only in the detailed approach of singular, particular cultures. To put the matter in extreme terms: it seems as if there is a universalist archaeology standing in opposition to a plethora of incompatible and irreducible vernacular archaeologies. In this context, appeals to the history of archaeology can be understood as recourse to the multiplicity of approaches and traditions characteristic of the discipline. The pioneering work of B. Trigger (1989) and L. Klejn (1973, 1977) has contributed much in this respect to our understanding of the development of archaeological thought. Until then, in effect, the history of archaeology was mainly conceived of as a history of discoveries, without taking much account of the ideas and institutions surrounding them. It is ironic to recall that the first syntheses of archaeology in the nineteenth century were rather conceived as phenomenologies of art (Müller 1830), or as histories of oeuvres and their interpretation (Starck 1880). It appears that the critique of the archaeology of art, during the second half of the nineteenth century, had as one of its side effects the rejection of a history of ideas in favour of one centred on discoveries.

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Gaffney, Vincent y Helen Watson. "Moving from Catchments to Cognition: Tentative Steps Toward a Larger Archaeological Context for GIS". En Anthropology, Space, and Geographic Information Systems. Oxford University Press, 1996. http://dx.doi.org/10.1093/oso/9780195085754.003.0011.

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Geographical informations systems are being used increasingly frequently within archaeological applications. Given the nature of much archaeological data, there can be little doubt that this technology probably represents one of the most flexible and comprehensible tools for the analysis of spatial data presently available. However, there are causes for concern relating to the archaeological context of GIS. This paper suggests that the nature of most GIS is such that they are most readily applied to data that are most conveniently stored in map format and that this may ultimately be restrictive to the natural development of archaeological analysis. In particular it is suggested that the use of GIS modules may lead to the unwitting exposition of an environmentally or functionally deterministic viewpoint of a type that has largely been rejected by most archaeologists. The need to develop cognitive models is emphasized and it is suggested that GIS has an important role to play in the development of such approaches. Particular emphasis is placed on the ability of GIS to incorporate the whole environment within archaeological models and to transform abstract spatial information in order to place it within a cultural domain. Two case studies are presented to support these suggestions. The first involves the re-analysis of a GIS study of late prehistoric settlement and burial data on the island of Hvar by the authors. It is suggested that the original interpretation of these data can be greatly improved through a more thoughtful consideration of the belief systems operating within these communities. The second case study involves prehistoric rock art and other ritual monuments in mid-Argyll in southern Scotland. The GIS-generated viewshed data are used to explore the cognitive context of the monuments within the landscape and to explore the perceived relationship between monuments. The GIS clearly has a lot to offer archaeology. However, there is a need to ensure that we use the technology on the terms of archaeology rather than simply transfer the techniques for which GIS is most commonly used into an archaeological context.

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Wright, Henry T. "Agent-Based Modeling of Small-Scale Societies: State of the Art and Future Prospects". En Dynamics in Human and Primate Societies. Oxford University Press, 2000. http://dx.doi.org/10.1093/oso/9780195131673.003.0019.

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The thematic social sciences—economics, political science, psychology, and so on—often privilege that aspect of human action on which they focus. Can we fruitfully understand change in human affairs from the perspectives of these disciplines? Philosophers have (for millennia), and anthropologists and geographers (for little more than a century) have said "no," and have attempted to view human phenomena as a totality. Anthropology, a holistic discipline, at its best integrates human biology, cultural anthropology or ethnology, psychological anthropology, linguistics, and archaeology. But the task is daunting, and has led often to elegant, but very specific case studies. However, new theoretical approaches to nonlinear and adaptive systems and to modeling such approaches give hope that rigorous general formulations are possible. The Culture Group of the Santa Fe Institute focuses on long-term stability and transformation in cultural developments. In December 1997, with the support of the Wenner-Gren Foundation for Anthropological Research, a diversity of researchers gathered in Santa Fe to assess the progress of this working group and to chart future directions. We had many fruitful exchanges, ranging from general theoretical problems of cultural change and its explanation to the specifics of modeling actual cultural processes. The touchstones of the discussions were breakthroughs in the modeling of small-community networks in southwestern North America, but new developments in other theoretical and empirical areas also proved important in pointing toward future efforts. This volume presents the much discussed and revised papers from the Santa Fe meeting. The conference began, as does this volume, with overviews of the state of the art of modeling. George Gumerman, in his preface, touches on the roots of modeling whole social and cultural systems in North America, threads of inquiry which are picked up in many chapters of this volume. Tim Kohler, in his elegant introduction argues the advantages of agent-based modeling as the resolution of several outstanding problems in traditional social science. Nigel Gilbert then provides rich insight into recent work in Europe, little known to many North American social scientists outside the modeling community.

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Harrison, Rodney y John Schofield. "Artefacts". En After Modernity. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780199548071.003.0012.

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In the Wrst part of the book we considered a number of influences on the emergence of an archaeology of the contemporary past, from the interests in contemporary small-scale societies that developed as part of the New Archaeology in the 1960s and 1970s, to the use of contemporary case studies to address particular archaeological debates about the relationship between material culture and social behaviour posed by post-processual archaeologists in the 1980s and 1990s. We have seen how the archaeology of the recent past began with a focus on the First and Second World Wars, and then the Cold War, eventually to encompass a Weld that is concerned with the archaeology of a much wider range of events that have only just passed or are still occurring today (e.g. Penrose 2007). In Chapter 3 we looked in detail at the sorts of Weld methodologies that are being applied by archaeologists of the recent and contemporary past, considering whether their Weld methods might be understood to be distinct from other forms of archaeology. In Chapter 4 we looked at the relationship between archaeology and other disciplines that focus on contemporary materiality, in particular anthropology, material culture studies, art, and documentary photography. And in Chapter 5 we explored some reasons why archaeologists might have developed an interest in the contemporary world, and the period of late modernity in particular, through an exploration of some of the conditions of late modernity that make it distinct from the periods that precede it. In the second part of the book, we look in more detail at how we might approach the archaeology of the contemporary world, with reference to a series of case studies. As you read through this second part, you will notice that one of its distinguishing features is its dual perspective. We consider on the one hand places and material practices that are essentially extinct or have ceased to function, and on the other those places and practices that are still functioning, or, in Tim Cresswell’s (2004: 37) words, are ‘still becoming’.

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Hsieh, Ellen. "The Power of Images in the Boxer Codex and Cultural Convergence in Early Spanish Manila". En Historical Archaeology of Early Modern Colonialism in Asia-Pacific. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054766.003.0006.

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The Boxer Codex is one of the most important documents for the study of the history of the Philippines. Produced in the late sixteenth century, the colorful illustrations of the manuscript offer some of the earliest images of people living in the archipelago and its Asian neighbors at the time. Although the codex, especially its illustrations, has been cited in a variety of Philippine studies, the manuscript has not been examined carefully as an integrated document, combining an analysis of the images and the text. This interdisciplinary study synthesizes methods derived from history, art history, anthropology, and archaeology to focus on the illustrations of the Boxer Codex in terms of both the structure, content, composition, and artistic style and the correlation between the Spanish text and Chinese characters within their historical context. I suggest that the manuscript was designed to promote and justify the Spanish enterprise in the Pacific rather than to present an objective ethnographic record of people in the region. Nonetheless, the Boxer Codex documents cultural exchange and artistic hybridity in early colonial Manila, reflecting the complex ethnic composition of Spain's most distant colony.

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Givens, Douglas R. "The Role of Biography in Writing the History of Archaeology (1992)". En Histories of Archaeology. Oxford University Press, 2008. http://dx.doi.org/10.1093/oso/9780199550074.003.0012.

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The history of any discipline involves the explanation of its past and how the past has influenced its development through time. Its ‘objects are events which have finished happening, and conditions no longer in existence. Only when they are no longer perceptible do they become objects of historical thought’ (Collingwood 1946: 233). Writing the history of archaeology involves the analysis of past events and of the contributions that individual archaeologists have made to its development through time. The roles of individuals in archaeology are best seen in biographical accounts of their labours and in the contributions to the discipline that they have made. In general, historians of archaeological science, who are interested in explaining the roles of the individuals in its development, must focus their attention on three important items. First, the most important item is evidence that something has occurred. If individuals’ contributions have no basis in truth and cannot be justified, then they are of no value to the historian of archaeology. Second, the historical picture of individuals’ lives and work must have defined boundaries in space and time. These provide the area of focus for study and description of individuals’ activities. Third, the efforts of individual practitioners must be couched within the intellectual climate in which they are made. Individuals’ contributions are not made in an intellectual vacuum, apart from collegial or institutional influences. Biography, as a tool for writing the history of archaeology, must embrace all of these requisites. For those engaged in explaining archaeology’s past, historical evidence of event and period provide the foundation upon which we can trace our science’s development. Studying and evaluating past work can be helpful in separating useful and outdated methodologies of the field and laboratory. Moreover, the study of the history of anthropology may give the anthropologist needed ‘distance from their own theoretical and methodological preoccupations’ (Darnell 1974: 2). What we see anthropology today as being is certainly not what the ultimate science of humankind will be in the future.

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Actas de conferencias sobre el tema "Anthropology, Archaeology. Art"

Sevcik, Milos. "ART AS EDUCATION: JAN PATOCKA ON THE RELATION OF ART TO DEEP AND SUPERFICIAL HISTORY". En SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s11.091.

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Zenkin, Konstantin. "ALEXEY LOSEV ABOUT THE MYSTERY OF ART STYLE". En SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s11.090.

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Plesca, Gianni. "HEALING EFFECT OF THE ACT OF HOLY ANOINTING OIL IN THE RITUAL OF HOLY UNCTION". En SGEM 2014 Scientific SubConference on ANTHROPOLOGY, ARCHAEOLOGY, HISTORY AND PHILOSOPHY. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b31/s11.098.

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