简介
Summary:
Publisher Summary 1
Known widely in Europe as "interpretive narrative archaeology," the practice of using creative methods to interpret and present current knowledge of the past is gaining popularity in North America. This book is the first compilation of international case studies of the various artistic methods used in this new form of education鈥攐ne that makes archaeology "come alive" for the nonprofessional. Plays, opera, visual art, stories, poetry, performance dance, music, sculpture, digital imagery鈥攁ll can effectively communicate archaeological processes and cultural values to public audiences.
The 23 contributors to this volume are a diverse group of archaeologists, educators, and artisans who have direct experience in schools, museums, and at archaeological sites. Citing specific examples, such as the film The English Patient, science fiction mysteries, and hypertext environments, they explain how creative imagination and the power of visual and audio media can personalize, contextualize, and demystify the research process. A 16-page color section illuminates their examples, and an accompanying CD includes relevant videos, music, web sites, and additional color images.
In their Introduction, the editors invoke the ancient muses to inspire the modern presenters and interpreters of archaeological research. They aptly quote George Santayana, from his poem "The Power of Art":
". . . may our hands immortalize the day
When life was sweet, and save from utter death
The sacred past that should not pass away."
John H. Jameson Jr.is an archaeologist and John E. Ehrenhardis Director at the National Park Service's Southeast Archeological Center in Tallahassee, Florida. Christine A. Finnis research associate at the Institute of Archaeology at the University of Oxford in England.
Publisher Summary 2
This book and its accompanying CD examine how information derived from archaeological investigations can be presented artistically to educate the general public.
目录
List of Figures ix
List of Plates xi
Introduction: Archaeology as Inspiration-Invoking the
Ancient Muses i
John H. Jameson, Jr., John E. Ehrenhard, and Christine A. Finn
Why We Were Drawn to This Topic 6
from the Contributors
1. More Than Just "Telling the Story": Interpretive Narrative Archaeology 15
John P. McCarthy
2. The Archaeologist as Playwright 25
James G. Gibb
3. Archaeology Goes to the Opera 40
John E. Ehrenhard and Mary R. Bullard
4. Archaeology in Two Dimensions: The Artist's Perspective 49
Martin Pate
5. Art and Imagery as Tools for Public Interpretation and Education in Archaeology 57
John H. Jameson, Jr.
6. Archaeology as a Compelling Story: The Art of Writing Popular Histories 65
Sharyn Kane and Richard Keeton
7. Poetry and Archaeology: The Transformative Process 72
Christine A. Finn
8. Reflections on the Design of a Public Art Sculpture for the
Westin Hotel, Palo Alto, California 82
David Middlebrook
9. Pompeii: A Site for All Seasons 84
David G. Orr
10. Evoking Time and Place in Reconstruction and Display:
The Case of Celtic Identity and Iron Age Art 92
Harold Mytum
11. Art and Archaeology: Conflict and Interpretation in a Museum Setting o09
MichaelJ. Williams and Margaret A. Heath
12. The Archaeology of Music and Performance in the Prehistoric American Southwest I20
Emily Donald
13. Archaeology's Influence on Contemporary Native American Art:
Perspectives from a Monster 128
Lance M. Foster
14. From Rock Art to Digital Image: Archaeology and Art in Aboriginal Australia 136
Claire Smith and Kirsten Brett
15. Archaeology in Science Fiction and Mysteries 152
David G. Anderson
16. RKLOG: Archaeologists as Fiction Writers 162
Sarah M. Nelson
17. Capturing the Wanderer: Nomads and Archaeology in the Filming of The English Patient 169
Christine A. Finn
18. Is Archaeology Fiction? Some Thoughts about Experimental
Ways of Communicating Archaeological Processes to the "External World" 179
Nicola Laneri
19. Crafting Cosmos, Telling Sister Stories, and Exploring Archaeological
Knowledge Graphically in Hypertext Environments 193
Jeanne Lopiparo and Rosemary A. Joyce
References Cited 205
Contributor Affiliations and Contact Information 231
About the Editors 233
Index 235
CONTENTS OF ACCOMPANYING COMPACT DISC
1. Images and clips from the stage production of the opera Zabette John E. Ehrenhard and Mary R. Bullard (See also book chapter3)
2. Interpretive art paintings and sketches, color image scans Martin Pate (See also book chapter 4)
3. Examples of archaeological interpretive art images and educational posters, color image scans
Martin Pate, John E. Ehrenhard, andJohn H. Jameson, Jr. (See also book chapters 4, 5, and 6)
4. Popular histories and other online volumes of the Southeast Archeological Center, National Park Service
Martin Pate, John E. Ehrenhard, andJohn H. Jameson, Jr. (See also book chapters 4, 5, and 6)
5. Color photos of public art sculptures David Middlebrook (See also book chapter 8)
6. Book covers and comments on Spirit Bird Journey and
National Treasure, published by RKLOG Press Sarah M Nelson (See also book chapter i6)
7. Video: Is Archaeology Fiction ? Some Thoughts about Experimental Ways of CommunicatingArchaeological Processes to the 'External World"
Nicola Laneri (See also book chapter i8)
8. Multimedia hypertext: Sample reading of Crafting Cosmos: The Production of Social Memory in Everyday Life among the Ancient Maya
Jeanne Lopiparo (See also book chapter ig)
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