Did our ancestors live in tropical forests? Although we see the rainforest as a bountiful environment teeming with life forms, most anthropologists and archaeologists have long viewed these areas as too harsh for human occupation during the pre-agricultural stages of hominid development.
Under the Canopy turns conventional wisdom on its head by providing a well-documented, geographically diverse overview of Stone Age sites in the wet tropics. New research indicates that, as humanity and its precursors increased their geographical and ecological ranges, rainforests were settled at a much earlier period than had previously been thought.
Featuring the work of leading scholars from Australia, Brazil, Canada, Colombia, France, Malaysia, Panama, Spain, and the United States, Under the Canopy creates a new niche in paleolithic studies: the archaeology of tropical rainforests. This book provides the first synthesis of archaeological research in early foraging sites across the rainforest zone, and indicates that tropical forests could harbor important clues to human evolution, origins of modern behavior, cultural diversity, and human impact on tropical ecosystems.
In Unseen Art, Claudia Brittenham unravels one of the most puzzling phenomena in Mesoamerican art history: why many of the objects that we view in museums today were once so difficult to see. She examines the importance that ancient Mesoamerican people assigned to the process of making and enlivening the things we now call art, as well as Mesoamerican understandings of sight as an especially godlike and elite power, in order to trace a gradual evolution in the uses of secrecy and concealment, from a communal practice that fostered social memory to a tool of imperial power.
Addressing some of the most charismatic of all Mesoamerican sculptures, such as Olmec buried offerings, Maya lintels, and carvings on the undersides of Aztec sculptures, Brittenham shows that the creation of unseen art has important implications both for understanding status in ancient Mesoamerica and for analyzing art in the present. Spanning nearly three thousand years of the Indigenous art of Mexico, Guatemala, Honduras, and Belize, Unseen Art connects the dots between vision, power, and inequality, providing a critical perspective on our own way of looking.
Since contact, attempts by institutions such as the British Crown and the Catholic Church to assimilate indigenous peoples have served to mark those people as “Other” than the settler majority. In Unsettling Mobility, Michelle A. Lelièvre examines how mobility has complicated, disrupted, and—at times—served this contradiction at the core of the settler colonial project.
Drawing on archaeological, ethnographic, and archival fieldwork conducted with the Pictou Landing First Nation—one of thirteen Mi’kmaw communities in Nova Scotia—Lelièvre argues that, for the British Crown and the Catholic Church, mobility has been required not only for the settlement of the colony but also for the management and conversion of the Mi’kmaq. For the Mi’kmaq, their continued mobility has served as a demonstration of sovereignty over their ancestral lands and waters despite the encroachment of European settlers.
Unsettling Mobility demonstrates the need for an anthropological theory of mobility that considers not only how people move from one place to another but also the values associated with such movements, and the sensual perceptions experienced by moving subjects. Unsettling Mobility argues that anthropologists, indigenous scholars, and policy makers must imagine settlement beyond sedentism. Rather, both mobile and sedentary practices, the narratives associated with those practices, and the embodied experiences of them contribute to how people make places—in other words, to how they settle.
Unsettling Mobility arrives at a moment when indigenous peoples in North America are increasingly using movement as a form of protest in ways that not only assert their political subjectivity but also remake the nature of that subjectivity.
American ruins have become increasingly prominent, whether in discussions of “urban blight” and home foreclosures, in commemorations of 9/11, or in postapocalyptic movies. In this highly original book, Nick Yablon argues that the association between American cities and ruins dates back to a much earlier period in the nation’s history. Recovering numerous scenes of urban desolation—from failed banks, abandoned towns, and dilapidated tenements to the crumbling skyscrapers and bridges envisioned in science fiction and cartoons—Untimely Ruins challenges the myth that ruins were absent or insignificant objects in nineteenth-century America.
The first book to document an American cult of the ruin, Untimely Ruins traces its deviations as well as derivations from European conventions. Unlike classical and Gothic ruins, which decayed gracefully over centuries and inspired philosophical meditations about the fate of civilizations, America’s ruins were often “untimely,” appearing unpredictably and disappearing before they could accrue an aura of age. As modern ruins of steel and iron, they stimulated critical reflections about contemporary cities, and the unfamiliar kinds of experience they enabled. Unearthing evocative sources everywhere from the archives of amateur photographers to the contents of time-capsules, Untimely Ruins exposes crucial debates about the economic, technological, and cultural transformations known as urban modernity. The result is a fascinating cultural history that uncovers fresh perspectives on the American city.
Sicily has been the fulcrum of the Mediterranean throughout history. The island’s central geographical position and its status as ancient Rome’s first overseas province make it key to understanding the development of the Roman Empire. Yet Sicily’s crucial role in the empire has been largely overlooked by scholars of classical antiquity, apart from a small number of specialists in its archaeology and material culture.
Urbanism and Empire in Roman Sicily offers the first comprehensive English-language overview of the history and archaeology of Roman Sicily since R. J. A. Wilson’s Sicily under the Roman Empire (1990). Laura Pfuntner traces the development of cities and settlement networks in Sicily in order to understand the island’s political, economic, social, and cultural role in Rome’s evolving Mediterranean hegemony. She identifies and examines three main processes traceable in the archaeological record of settlement in Roman Sicily: urban disintegration, urban adaptation, and the development of alternatives to urban settlement. By expanding the scope of research on Roman Sicily beyond the bounds of the island itself, through comparative analysis of the settlement landscapes of Greece and southern Italy, and by utilizing exciting evidence from recent excavations and surveys, Pfuntner establishes a new empirical foundation for research on Roman Sicily and demonstrates the necessity of including Sicily in broader historical and archaeological studies of the Roman Empire.
Most information available on Utatlán focuses on the ceremonial center and ignores the city of the commoners. Using the archaeological data, Utatlán attempts to determine the boundaries of the community and to characterize subdivisions within it. Evidence of indigenous nonelite houses, rich burials, and grave goods unlike those found in contemporary sites reveals information about the supporting residence zone. In addition, Babcock applies the concept of "constituted community," interpreting the archaeological data from a prehistoric context, and proposes a theoretical framework for interpreting prehistoric sites with respect to urbanism and political complexity.
Utatlán: The Constituted Community of the K'iche' Maya of Q'umarkaj will be of interest to students and scholars of Mesoamerican anthropology, archaeology, and ethnohistory.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press