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.
It can be suggested that today we live in a new nomadic age, an age of global movement and migration. For the majority of people on earth, however, especially from the global south, crossing national borders and moving from the global south to the global north is risky, perilous, often lethal. Many are forced or compelled to migrate due to war, persecution, or the structural violence of poverty and deprivation. The phenomenon of forced and undocumented migration is one of the defining features of our era. And while the topic is at the centre of attention and study in many scholarly fields, the materiality of the phenomenon and its sensorial and mnemonic dimensions are barely understood and analysed. In this regard, contemporary archaeology can make an immense contribution. This book, the first archaeological anthology on the topic, takes up the challenge and explores the diverse intellectual, methodological, ethical, and political frameworks for an archaeology of forced and undocumented migration in the present. Matters of historical depth, theory, method, ethics and politics as well as heritage value and public representation are investigated and analysed, adopting a variety of perspectives. The book contains both short reflections and more substantive treatments and case studies from around the world, from the Mexico-USA border to Australia, and utilizes a diversity of narrative formats, including several photographic essays.
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.
Thinking Bodies - Shaping Hands focuses on the critical as well as historical dimension of the handling of the brush and of the resulting appearance of colour on the painted surface in art and art theory from the middle of the 17th (above all from 1660) to the dawn of the 18th century in the Netherlands. More specifically, it deals with Rembrandt’s last pupils such as Arent de Gelder. „Handeling” describes an active, embodied process that is connected to the motion of the hand with the brush or with any other kind of tool. This term, up to now not sufficiently appreciated in scholarly literature, seems to be fruitful in this context. It is not so much connected with the term „style”, as with a prior step, which is equivalent to „manner”. At the same time, its meaning in Dutch till today is „action”. „Handeling” is an act that could be described as a „form-act”. It focuses on Formgestaltung, in which these actions themselves are understood as processes. Examining the „Rembrandtist ideology of painting”, this study attempts to reveal the embodied process of painting in the sense of a bodily articulation during the application of colour. This occurs within the productive tension between theory and practice.
This innovative, extensively illustrated study examines how classical antiquities and archaeology contributed significantly to the production of the modern Greek nation and its national imagination. It also shows how, in return, national imagination has created and shaped classical antiquities and archaeological practice from the nineteenth century to the present. Yannis Hamilakis covers a diverse range of topics, including the role of antiquities in the foundation of the Greek state in the nineteenth century, the Elgin marbles controversy, the role of archaeology under dictatorial regimes, the use of antiquities in the detention camps of the Greek civil war, and the discovery of the so-called tomb of Philip of Macedonia.
Archaeology, Nation, and Race is a must-read book for students of archaeology and adjacent fields. It demonstrates how archaeology and concepts of antiquity have shaped, and have been shaped by colonialism, race, and nationalism. Structured as a lucid and lively dialogue between two leading scholars, the volume compares modern Greece and modern Israel – two prototypical and influential cases – where archaeology sits at the very heart of the modern national imagination. Exchanging views on the foundational myths, moral economies, and racial prejudices in the field of archaeology and beyond, Hamilakis and Greenberg explore topics such as the colonial origins of national archaeologies, the crypto-colonization of the countries and their archaeologies, the role of archaeology as a process of purification, and the racialization and 'whitening' of Greece and Israel and their archaeological and material heritage. They conclude with a call for decolonization and the need to forge alliances with subjugated communities and new political movements.
How can we find alternative, sensorially rich and affective ways of engaging with the material past in the present? How can photography play a central role in archaeological narratives, beyond representation and documentation? This photo-book engages with these questions through evocative creative practice.
While written sources on the history of Greece have been studied extensively, no systematic attempt has been made to examine photography as an important cultural and material process. This is surprising, given that Modern Greece and photography are almost peers: both are cultural products of the 1830s, and both actively converse with modernity. Camera Graeca: Photographs, Narratives, Materialities fills this lacuna. It is the first inter-disciplinary volume to examine critically and in a theorised manner the entanglement of Greece with photography. The book argues that photographs and the photographic process as a whole have been instrumental in the reproduction of national imagination, in the consolidation of the nation-building process, and in the generation and dissemination of state propaganda. At the same time, it is argued that the photographic field constitutes a site of memory and counter-memory, where various social actors intervene actively and stake their discursive, material, and practical claims. As such, the volume will be of relevance to scholars and photographers, worldwide. The book is divided into four, tightly integrated parts. The first, ‘Imag(in)ing Greece’, shows that the consolidation of Greek national identity constituted a material-cum-representational process, the projection of an imagery, although some photographic production sits uneasily within the national canon, and may even undermine it. The second part, ‘Photographic narratives, alternative histories’, demonstrates the narrative function of photographs in diary-keeping and in photobooks. It also examines the constitution of spectatorship through the combination of text and image, and the role of photography as a process of materializing counter-hegemonic discourses and practices. The third part, ‘Photographic matter-realities’, foregrounds the role of photography in materializing state propaganda, national memory, and war. The final part, ‘Photographic ethnographies’, has an overtly anthropological focus and theorises the contexts of photographs’ inception and dissemination, discussing at the same time vernacular and popular readings and deployments of photography, and the ways through which it inscribes itself in collective memory.
In The Killer Knows Why, pulp fiction author Yannis Mitsopoulos draws readers in with ease by throwing open the doors to his home of Greece, letting them experience the romance of the settings tucked in the mountains and coasts, along with the secrets that entice them to read each of his seven spellbinding stories with complete abandon. Mitsopoulos weaves the stories in and out of everyday lives, traditions, and beliefs as he allows his readers to become voyeurs into the minds of those that kill for a reason. The first story tells the tale of a woman whose life has been one of missed opportunities, only to regain a life for herself through the secret found in her fathers journal. In the second story, a little boys love for a race car carries him to a tragic end. The Killer Knows Why tells five more tales: Greek tragedies intertwine old curses through modern lives only to end, well, tragically as a family spins their tale for everyone to see. An artist finds that Death can be an inspiring muse. A young ex-soldier finds that fatherhood can push him to fight even the devils of the deep to bring his daughter back. A man that tries to not let others poison his life, his thoughts ends his life while attempting to poison the one that poisoned him. And, a mother that knows what is best for her daughter ensures with a little help that both their lives are secure. Seven stories wrap around the reader like a bright, beautiful day only to find that even beautiful days have their moments of cold. Yannis Mitsopoulos draws his inspiration from real life events, situations, and places, lending to the ambience with which he weaves into his fiction. Mitsopoulos invites readers to experience a taste of Greece, so do not hesitate! Grab your favorite sweater then let yourself experience the warmth and chill of The Killer Knows Why. Review written by Jason Rutherford
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