David S. Whitley – författare

This Reader in Archaeological Theory presents sixteen articles of key theoretical significance, in a format which makes this notoriously complex area easier for students to understand.This volume:* provides an intellectual history of different approaches to archaeology which contextualizes the complex traditions of cognitive archaeology and postprocessualism on which it focuses* organizes theories of archaeology, the meanings of things, the prehistoric mind and cognition, gender, ideology and social theory and archaeology's relationship to today's society and politics* includes lucid section introductions to each section which provide context, explain why the papers are so significant and summarize their key points* emphasizes research from the 'New World', making archaeological theory especially relevant and accessible to students in North America.

This Reader in Archaeological Theory presents sixteen articles of key theoretical significance, in a format which makes this notoriously complex area easier for students to understand.This volume:* provides an intellectual history of different approaches to archaeology which contextualizes the complex traditions of cognitive archaeology and postprocessualism on which it focuses* organizes theories of archaeology, the meanings of things, the prehistoric mind and cognition, gender, ideology and social theory and archaeology's relationship to today's society and politics* includes lucid section introductions to each section which provide context, explain why the papers are so significant and summarize their key points* emphasizes research from the 'New World', making archaeological theory especially relevant and accessible to students in North America.

This Reader in Gender Archaeology presents nineteen current, controversial and highly influential articles which confront and illuminate issues of gender in prehistory. The question of gender difference and whether it is natural or culturally constructed is a compelling one. The articles here, which draw on evidence from a wide range of geographic areas, demonstrate how all archaeological investigation can benefit from an awareness of issues of gender. They also show how the long-term nature of archaeological research can inform the gender debate across the disciplines. The volume:* organizes this complex area into seven sections on key themes in gender archaeology: archaeological method and theory, human origins, division of labour, the social construction of gender, iconography and ideology, power and social hierarchies and new forms of archaeological narrative* includes section introductions which outline the history of research on each topic and present the key points of each article* presents a balance of material which rewrites women into prehistory, and articles which show how the concept of gender informs our understanding and interpretation of the past.

This Reader in Gender Archaeology presents nineteen current, controversial and highly influential articles which confront and illuminate issues of gender in prehistory. The question of gender difference and whether it is natural or culturally constructed is a compelling one. The articles here, which draw on evidence from a wide range of geographic areas, demonstrate how all archaeological investigation can benefit from an awareness of issues of gender. They also show how the long-term nature of archaeological research can inform the gender debate across the disciplines. The volume:* organizes this complex area into seven sections on key themes in gender archaeology: archaeological method and theory, human origins, division of labour, the social construction of gender, iconography and ideology, power and social hierarchies and new forms of archaeological narrative* includes section introductions which outline the history of research on each topic and present the key points of each article* presents a balance of material which rewrites women into prehistory, and articles which show how the concept of gender informs our understanding and interpretation of the past.

Human actions are often deeply intertwined with religion and can be understood in a strictly religious context. Yet, many volumes and articles pertaining to discussions of religion in the archaeological past have focused primarily on the sociopolitical implications of such remains. The authors in this volume argue that while these interpretations certainly have a meaningful place in understanding the human past, they provide only part of the picture. Because strictly religious contexts have often been ignored, this has resulted in an incomplete assessment of religious behavior in the past. This volume considers exciting new directions for considering an archaeology of religion, offering examples from theory, tangible archaeological remains, and ethnography.

Human actions are often deeply intertwined with religion and can be understood in a strictly religious context. Yet, many volumes and articles pertaining to discussions of religion in the archaeological past have focused primarily on the sociopolitical implications of such remains. The authors in this volume argue that while these interpretations certainly have a meaningful place in understanding the human past, they provide only part of the picture. Because strictly religious contexts have often been ignored, this has resulted in an incomplete assessment of religious behavior in the past. This volume considers exciting new directions for considering an archaeology of religion, offering examples from theory, tangible archaeological remains, and ethnography.

The magnificent prehistoric art discovered in caves throughout France and Spain raises many questions about early human culture. What do these superbly rendered paintings of horses, bison, and enigmatic human figures and symbols mean? How can we explain the sudden flourishing of artistic creativity at such a high level? And in what ways does this artwork reflect the underlying belief system, worldview, and life of the people who created it?In this fascinating discussion of ancient art and religion, Dr. David S. Whitley—one of the world's leading experts on cave paintings—guides the reader in an exploration of these intriguing questions, while sharing his firsthand experiences in visiting these exquisite, breathtaking sites.To grasp what drove these ancient artists to create these masterpieces, and to understand the origin of myth and religion, as Whitley explains, is to appreciate what makes us human. Moreover, he broadens our understanding of the genesis of creativity and myth by proposing a radically new and original theory that weds two seemingly warring camps from separate disciplines.On the one hand, archaeologists specializing in prehistoric cave paintings have argued that the visionary rituals of shamans led to the creation of this expressive art. They consider shamanism to be the earliest known form of religion. By contrast, evolutionary psychologists view the emergence of religious beliefs as a normal expression of the human mind. In their eyes, the wild and ecstatic trances of shamans were a form of aberrant behavior. Far from being typical representatives of ancient religion, shamans were exceptions to the normal rule of early religion.Whitley resolves the controversy by interweaving the archaeological evidence with the latest findings of cutting-edge neuroscience. He thereby rewrites our understanding of shamanism and its connection with artistic creativity, myth, and religion.Combining a colorful narrative describing Whitley's personal explorations at key archaeological sites with robust scientific research, Cave Paintings and the Human Spirit makes for engrossing reading. It provides a profound and poignant perspective on what it means to be human.

Human actions are often deeply intertwined with religion and can be understood in a strictly religious context. Yet, many volumes and articles pertaining to discussions of religion in the archaeological past have focused primarily on the sociopolitical implications of such remains. The authors in this volume argue that while these interpretations certainly have a meaningful place in understanding the human past, they provide only part of the picture. Because strictly religious contexts have often been ignored, this has resulted in an incomplete assessment of religious behavior in the past. This volume considers exciting new directions for considering an archaeology of religion, offering examples from theory, tangible archaeological remains, and ethnography.

Human actions are often deeply intertwined with religion and can be understood in a strictly religious context. Yet, many volumes and articles pertaining to discussions of religion in the archaeological past have focused primarily on the sociopolitical implications of such remains. The authors in this volume argue that while these interpretations certainly have a meaningful place in understanding the human past, they provide only part of the picture. Because strictly religious contexts have often been ignored, this has resulted in an incomplete assessment of religious behavior in the past. This volume considers exciting new directions for considering an archaeology of religion, offering examples from theory, tangible archaeological remains, and ethnography.

The magnificent prehistoric art discovered in caves throughout France and Spain raises many questions about early human culture. What do these superbly rendered paintings of horses, bison, and enigmatic human figures and symbols mean? How can we explain the sudden flourishing of artistic creativity at such a high level? And in what ways does this artwork reflect the underlying belief system, worldview, and life of the people who created it?In this fascinating discussion of ancient art and religion, Dr. David S. Whitleyone of the world's leading experts on cave paintingsguides the reader in an exploration of these intriguing questions, while sharing his firsthand experiences in visiting these exquisite, breathtaking sites.To grasp what drove these ancient artists to create these masterpieces, and to understand the origin of myth and religion, as Whitley explains, is to appreciate what makes us human. Moreover, he broadens our understanding of the genesis of creativity and myth by proposing a radically new and original theory that weds two seemingly warring camps from separate disciplines.On the one hand, archaeologists specializing in prehistoric cave paintings have argued that the visionary rituals of shamans led to the creation of this expressive art. They consider shamanism to be the earliest known form of religion. By contrast, evolutionary psychologists view the emergence of religious beliefs as a normal expression of the human mind. In their eyes, the wild and ecstatic trances of shamans were a form of aberrant behavior. Far from being typical representatives of ancient religion, shamans were exceptions to the normal rule of early religion.Whitley resolves the controversy by interweaving the archaeological evidence with the latest findings of cutting-edge neuroscience. He thereby rewrites our understanding of shamanism and its connection with artistic creativity, myth, and religion.Combining a colorful narrative describing Whitley's personal explorations at key archaeological sites with robust scientific research, Cave Paintings and the Human Spirit makes for engrossing reading. It provides a profound and poignant perspective on what it means to be human.

This volume contains contributions that consider new approaches to three areas: the documentation of rock art; its interpretation using indigenous knowledge; and the presentation of rock art. Working with Rock Art is the first edited volume to consider each of these areas in a theoretical rather than a technical fashion, and it therefore makes a significant contribution to the discipline. The volume aims to promote the sharing of new experiences between leading researchers in the field. While the geographic focus is truly global, there is a dominant north-south axis with strong representation from researchers in southern Africa and northern Europe, two leading centres for new approaches in rock art research. Working with Rock Art opens up a long overdue dialogue about shared experiences between these two centres, and a number of the chapters are the first published results of new collaborative research. Since this volume covers the recording, interpretation and presentation of rock art, it will attract a wide audience of researchers, heritage managers and students, as well as anyone interested in the field of rock art studies.

It is largely through the work of David Lewis-Williams 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 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 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.

It is largely through the work of David Lewis-Williams 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 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 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.