| Contributors |
|
xi | |
| Acronyms |
|
xiii | |
|
Chapter 1 Rock art with and without ethnography |
|
|
1 | (10) |
|
|
|
|
|
|
|
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) |
|
|
|
6 | (5) |
|
Chapter 2 Flashes of brilliance: San rock paintings of heaven's things |
|
|
11 | (26) |
|
|
|
Heavenly bodies, human imaginations |
|
|
11 | (3) |
|
Heaven on earth in Africa |
|
|
14 | (4) |
|
Stellar sites in South Africa |
|
|
18 | (8) |
|
|
|
26 | (1) |
|
Potency, astral travel and agency |
|
|
26 | (4) |
|
|
|
30 | (7) |
|
Chapter 3 Snake and veil: The rock engravings of Driekopseiland, Northern Cape, South Africa |
|
|
37 | (18) |
|
|
|
|
|
37 | (1) |
|
Who, and why? Stow's account |
|
|
38 | (1) |
|
Bushman or Korana - and other preoccupations |
|
|
39 | (1) |
|
|
|
40 | (2) |
|
Towards an archaeological context |
|
|
42 | (1) |
|
|
|
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) |
|
|
|
|
|
56 | (1) |
|
|
|
57 | (5) |
|
|
|
62 | (1) |
|
|
|
63 | (3) |
|
|
|
66 | (2) |
|
|
|
68 | (7) |
|
Chapter 5 Art and authorship in southern African rock art: Examining the Limpopo-Shashe Confluence Area |
|
|
75 | (24) |
|
|
|
|
|
|
|
|
|
75 | (1) |
|
The study area, its environs, and rock art traditions |
|
|
76 | (6) |
|
Towards understanding the historical context |
|
|
82 | (1) |
|
|
|
82 | (2) |
|
Evidence from archaeo-linguistic studies and historical sources |
|
|
84 | (3) |
|
Evidence from the rock art |
|
|
87 | (3) |
|
|
|
90 | (9) |
|
Chapter 6 Archaeology, ethnography, and rock art: A modern-day study from Tanzania |
|
|
99 | (18) |
|
|
|
Tanzania: Rock art and ethnography |
|
|
99 | (1) |
|
Location, location, location |
|
|
100 | (2) |
|
|
|
102 | (5) |
|
Metaphors for fertility: Objects and colour |
|
|
107 | (2) |
|
|
|
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) |
|
|
|
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) |
|
|
|
Love-magic and the American elk |
|
|
139 | (2) |
|
Elk images at rock art sites in Montana and Wyoming |
|
|
141 | (4) |
|
|
|
145 | (4) |
|
Chapter 9 Layer by layer: Precision and accuracy in rock art recording and dating |
|
|
149 | (20) |
|
|
|
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) |
|
|
|
|
|
170 | (2) |
|
|
|
172 | (3) |
|
|
|
175 | (6) |
|
|
|
181 | (3) |
|
|
|
184 | (5) |
|
Chapter 11 Composite creatures in European Palaeolithic art |
|
|
189 | (10) |
|
|
|
Identifying composite creatures |
|
|
189 | (1) |
|
|
|
190 | (2) |
|
|
|
192 | (3) |
|
|
|
195 | (4) |
|
Chapter 12 Thinking strings: On theory, shifts and conceptual issues in the study of Palaeolithic art |
|
|
199 | (16) |
|
|
|
|
|
199 | (2) |
|
|
|
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) |
|
|
|
209 | (6) |
|
Chapter 13 Rock art without ethnography? A history of attitude to rock art and landscape at Frøysjøen, western Norway |
|
|
215 | (26) |
|
|
|
|
|
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 `cthnography' 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 ethnographres and ethnohistory |
|
|
232 | (9) |
|
Chapter 14 `Meaning cannot rest or stay the same' |
|
|
241 | (10) |
|
|
|
`What is the meaning of your work?' |
|
|
241 | (1) |
|
Fluidity of oral tradition |
|
|
242 | (1) |
|
|
|
243 | (1) |
|
|
|
244 | (1) |
|
|
|
245 | (1) |
|
|
|
245 | (1) |
|
|
|
246 | (5) |
|
Chapter 15 Manica rock art in contemporary society |
|
|
251 | (18) |
|
|
|
Studying rock art in Manica Province, Mozambique |
|
|
251 | (1) |
|
|
|
251 | (1) |
|
|
|
252 | (1) |
|
|
|
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) |
|
|
|
|
|
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) |
|
|
|
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 by David Lewis-Williams |
|
297 | (8) |
| Index |
|
305 | |
Biežāk uzdotie jautājumi par e-grāmatām