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E-grāmata: Seeing and Knowing: Rock art with and without ethnography

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  • Formāts: 328 pages
  • Izdošanas datums: 01-Dec-2010
  • Izdevniecība: Wits University Press
  • Valoda: eng
  • ISBN-13: 9781868147168
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  • Formāts: 328 pages
  • Izdošanas datums: 01-Dec-2010
  • Izdevniecība: Wits University Press
  • Valoda: eng
  • ISBN-13: 9781868147168

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This collection focuses on David Lewis-Williams and the extent of his personal impact on the field of rock art research. It is largely through his work that San rock art has come to be understood so well, as a complex symbolic and metaphoric representation of San religious beliefs and practices. The purpose of this volume is to demonstrate the depth and wide geographical impact of Lewis-Williams' contribution, with particular emphasis on the use of theory and methodology drawn from ethnography that he has used with inspirational effect in understanding the meaning and context of rock art in various parts of the world.

Seeing and Knowing explores how best archaeologists study rock art when there exist ethnographic or ethno-historic bases of insight, and how they study rock art when there do not appear to exist ethnographic or ethno-historic bases of insight—in short, how to understand and learn from rock art with and without ethnography. Because many of the chapters are based on solid fieldwork and ethnographic research, they offer a new body of work that provides the evidence for differentiation between knowing and simply seeing.

This volume is unique in that it focuses exclusively on rock art and ethnography, and covers such a wide geographic range of examples on this topic, from southern Africa, to Scandinavia, to the United States. Many of the chapters explore studies in other rock art regions of the world where variation and constancy can be observed and explored across distances both in space and in time.

The editors have entitled the book Seeing and Knowing to echo Lewis-Williams' Believing and Seeing published almost thirty years ago; they say "seeing" again because looking at rock art is and will always be central, and then what is seen when human eyes and minds look; they say "knowing" in recognition that, by his work and by his example, archaeologists now know a little more than they knew before. Even so, as Lewis-Williams will be the first to say, we still know only a fraction.

Contributors xi
Acronyms xiii
Chapter 1 Rock art with and without ethnography
1(10)
Geoffrey Blundell
Christopher Chippindale
Benjamin Smith
The Lewis-Williams revolution: Studying rock art in southern Africa and beyond
1(1)
The dual ethnographic-neuropsychological approach: The classic style of study in the classic area
2(1)
Extending beyond the classic style of study in the classic area
3(2)
From South Africa to the world, from informed methods to formal methods
5(1)
Understanding rock art: Informed methods, formal methods, and the uniformitarian issues
5(1)
This book
6(5)
Chapter 2 Flashes of brilliance: San rock paintings of heaven's things
11(26)
Sven Ouzman
Heavenly bodies, human imaginations
11(3)
Heaven on earth in Africa
14(4)
Stellar sites in South Africa
18(8)
Age determinations
26(1)
Potency, astral travel and agency
26(4)
Future horizons
30(7)
Chapter 3 Snake and veil: The rock engravings of Driekopseiland, Northern Cape, South Africa
37(18)
David Morris
Driekopseiland
37(1)
Who, and why? Stow's account
38(1)
Bushman or Korana - and other preoccupations
39(1)
What, and how old?
40(2)
Towards an archaeological context
42(1)
Towards meaning
43(5)
Driekopseiland landscape and history
48(7)
Chapter 4 Cups and saucers: A preliminary investigation of the rock carvings of Tsodilo Hills, northern Botswana
55(20)
Nick Walker
Tsodilo Hills
56(1)
The carvings
57(5)
Local beliefs
62(1)
Antiquity
63(3)
Meaning
66(2)
Conclusions
68(7)
Chapter 5 Art and authorship in southern African rock art: Examining the Limpopo-Shashe Confluence Area
75(24)
Edward B. Eastwood
Geoffrey Blundell
Benjamin Smith
Rock art and regionality
75(1)
The study area, its environs, and rock art traditions
76(6)
Towards understanding the historical context
82(1)
Evidence from excavation
82(2)
Evidence from archaeo-linguistic studies and historical sources
84(3)
Evidence from the rock art
87(3)
Implications
90(9)
Chapter 6 Archaeology, ethnography, and rock art: A modern-day study from Tanzania
99(18)
Imogenel L. Lim
Tanzania: Rock art and ethnography
99(1)
Location, location, location
100(2)
Sandawe praxis: Iyari
102(5)
Metaphors for fertility: Objects and colour
107(2)
Rain-calling
109(2)
Archaeology and ethnography in rock art studies: Lessons from the Sandawe
111(6)
Chapter 7 Art and belief: The ever-changing and the never-changing in the Far West
117(22)
David S. Whitley
Ethnography and North American rock art
118(5)
Beyond the tyranny of the ethnographic record
123(1)
The conservatism of culture
124(2)
The essentialist challenge
126(1)
Situating cultural stability and change
126(1)
Making supernatural power personal: The emergence of Numic bands and headmen
127(1)
Long-term uses of summarising symbols
127(1)
Elaborating symbols: Where power becomes personal
127(2)
Conservatism versus change
129(10)
Chapter 8 Crow Indian elk love-medicine and rock art in Montana and Wyoming
139(10)
Lawrence L. Loendorf
Love-magic and the American elk
139(2)
Elk images at rock art sites in Montana and Wyoming
141(4)
Summary
145(4)
Chapter 9 Layer by layer: Precision and accuracy in rock art recording and dating
149(20)
Johannes Loubser
Background: Informed and formal approaches in conjunction
149(1)
El Raton and its rock paintings
150(1)
People of the Sierra de San Francisco
151(2)
Recording methods and techniques
153(3)
Relative stratigraphy and dating at El Raton
156(7)
Provisional sequence at El Raton and some implications for interpretation
163(1)
Placement and depiction of motifs in El Raton
164(5)
Chapter 10 From the tyranny of the figures to the interrelationship between myths, rock art and their surfaces
169(20)
Knut Helskog
The tyranny
170(2)
Choosing the surface
172(3)
The panels
175(6)
Understanding the elk
181(3)
Conclusion
184(5)
Chapter 11 Composite creatures in European Palaeolithic art
189(10)
Jean Clottes
Identifying composite creatures
189(1)
Man-beast
190(2)
Beast-man
192(3)
Humans and animals
195(4)
Chapter 12 Thinking strings: On theory, shifts and conceptual issues in the study of Palaeolithic art
199(16)
Margaret W. Conkly
After a founding text
199(2)
On theory and theorising
201(2)
Shifts in and for the study of Palaeolithic art
203(1)
Intellectual shifts and new perspectives
203(2)
Thinking strings: Some different conceptual directions
205(4)
Are there `conclusions'?
209(6)
Chapter 13 Rock art without ethnography? A history of attitude to rock art and landscape at Frøysjøen, western Norway
215(26)
Eva Walderhaug
Rock art and ethnography
215(1)
Rock art of western Norway and western Mozambique
216(4)
`Pre-contact' natural history and ethnohistory at Frøysjøen
220(2)
The `post-contact' period: A grand discovery, and its aftermath
222(2)
Frøysjøen `ethnography' and the making of the hunting-magic explanation
224(3)
After hunting magic: The past in the present
227(1)
Romancing a mountain: Folklore and myth at Frøysjøen
228(2)
In the footsteps of Gjessing until paths divide: A brief return to southern Africa
230(2)
The value of present-day ethnographies and ethnohistory
232(9)
Chapter 14 `Meaning cannot rest or stay the same'
241(10)
Patricia Vinnicombe
`What is the meaning of your work?'
241(1)
Fluidity of oral tradition
242(1)
Images are real
243(1)
A seamless unity
244(1)
Mimesis
245(1)
Access to power
245(1)
Structure
246(5)
Chapter 15 Manica rock art in contemporary society
251(18)
Tore Saetersdal
Studying rock art in Manica Province, Mozambique
251(1)
The geography of Manica
251(1)
The rock art of Manica
252(1)
Manica Valley
252(2)
Art in the Guidingue area
254(3)
Archaeological excavations
257(1)
Shona history and ethnohistory
258(4)
Discussion: Art then and art now
262(7)
Chapter 16 Oral tradition, ethnography, and the practice of North American archaeology
269(12)
Julie E. Francis
Lawrence L. Loendorf
The changing shape of North American archaeology
269(1)
Rock art and the `new archaeology'
270(1)
Rock art and the `newer archaeology'
271(1)
Examples: Ethnography, oral tradition and understanding
271(5)
Integration of ethnographic information and traditional archaeological data: Implications for archaeology
276(5)
Chapter 17 Beyond rock art: Archaeological interpretation and the shamanic frame
281(9)
Neil Price
Introduction: Southern African rock art research, in southern Africa and elsewhere
281(1)
Diversity and definition in a shamanic archaeology
282(1)
Shamanism: The big question
283(1)
The antiquity of shamanism
284(2)
Shamanism and the indigenous voice
286(1)
Archaeological interpretation and the shamanic frame
286(4)
List of figures 290(6)
List of tables 296(1)
List of publications 297(8)
David Lewis-Williams
Index 305
Geoffrey Blundell is Head of the Department of Human Sciences at the KwaZulu-Natal Museum in Pietermaritzburg.

Christopher Chippindale is a Reader in Archaeology at the University of Cambridge and is Senior Curator at the Museum of Archaeology and Anthropology.

Jean Clottes is internationally renowned scholar and authority on rock art and is now retired.

Margaret W. Conkey is Professor Emerita in the Archaeological Research Facility and Department of Anthropology, University of California, Berkeley.

Edward B. Eastwood was Research Associate of the University of the Witwatersrand's Rock Art Research Institute until his death in 2008.