Joakim Goldhahn – författare

The rock art of Australia is among the oldest, most complex, and most fascinating manifestations of human creativity and imagination in the world. Aboriginal people used art to record their experiences, ceremonies, and knowledge by embedding their understanding of the world in the landscape over many generations. Indeed, rock art serves as archives and libraries for Australia's Indigenous people. It is, in effect, its repository of memory. This volume explores Indigenous perspectives on rock art. It challenges the limits and assumptions of traditional, academic ways of understanding and knowing the past by showing how history has literally been painted 'on the rocks'. Each chapter features a biography of an artist or family of artists, together with an artwork created by contemporary artist Gabriel Maralngurra. By bringing together history, archaeology, and Indigenous artistic practice, the book offers new insights into the medium of rock art and demonstrates the limits of academic methods and approaches.

This book provides new insights into the relationship between humans and birds in Northern Europe during the Bronze Age. Joakim Goldhahn argues that birds had a central role in Bronze Age society and imagination, as reflected in legends, myths, rituals, and cosmologies. Goldhahn offers a new theoretical model for understanding the intricate relationship between humans and birds during this period. He explores traces of birds found in a range of archaeological context, including settlements and burials, and analyzes depictions of birds on bronze artefacts and figurines, rock art, and ritual paraphernalia. He demonstrates how birds were used in divinations, and provides the oldest evidence of omens taken from gastric contents of birds - extispicy - ever found in Europe.

This book provides new insights into the relationship between humans and birds in Northern Europe during the Bronze Age. Joakim Goldhahn argues that birds had a central role in Bronze Age society and imagination, as reflected in legends, myths, rituals, and cosmologies. Goldhahn offers a new theoretical model for understanding the intricate relationship between humans and birds during this period. He explores traces of birds found in a range of archaeological context, including settlements and burials, and analyzes depictions of birds on bronze artefacts and figurines, rock art, and ritual paraphernalia. He demonstrates how birds were used in divinations, and provides the oldest evidence of omens taken from gastric contents of birds - extispicy - ever found in Europe.

This volume derives from a workshop held at the University of Kalmar (now Linnaeus University), Sweden between the 20-24 of October 2008. The aim of this gathering was to provide a forum for rock art researchers from different parts of northern Europe to discuss traditional as well as current interpretative trends within rock art research. Changing Pictures aims to return to traditional interpretative notions regarding the meaning and significance of rock art to investigate if and why any information had been left behind to recover and rethink. During the last decades, there has been an immense global interest among archaeologists and anthropologists in studying rock art. Research in northern Europe, as elsewhere, has intensely explored a manifold of methodological and theoretical perspectives. Most of these studies however, have been published in languages that seldom reach beyond the native speakers of Norwegian, Danish, and Swedish, Russian or Finnish. Therefore an important motivation for this volume is to try to apprise some of the current movements within this field of research and present it for an international audience. These papers explore the relevance of older ideas, such as notions about prehistoric religion, ritual performance, sympathetic magic, animism and totemism, the mindscapes of landscapes etc., as well as the present "state of the art" in order to develop a broader understanding of the phenomenon we call rock art. This aspiration can be seen as a common thread linking the different chapters in this book. Saying that, some, if not all, of the articles presented in this volume challenge the notion "rock art" itself, arguing that sometimes the rock, the "canvas" and rather intangible but equally important sensual encounters, such as sound, echoes, touch and temporal phenomenological changes and the perception of decorated rock art panels, should be regarded, at least, as important as the "art" itself. By reassessing traditional approaches to Scandinavian rock art and creatively reworking these ideas, whilst also addressing significant new concepts such as the agency of rock and the performativity of rock art, this anthology of papers offers not only a snapshot of current debates, but also reflects pivotal changes in the study of rock art.

I bokens 24 kapitel tecknas monumentets antikvariska och arkeologiska biografi. Här presenteras såväl äldre som nya tolkningar om monumentet, och det presenteras en rad nya analyser. För att förstå betydelsen av ett monument som Bredarör på Kivik, bör vi närma oss det från skilda analytiska nivåer och perspektiv. Gåtans lösning får sökas inom dig själv. Joakim Goldhahn är professor i arkeologi vid Linnéuniversitetet i Växjö. Hans forskning spänner över teman som bronsålder, begravningsritualer, hällbilder och arkeologiens historia. I denna bok sammanfaller fälten och bildar en fond för en 400 år lång arkeologisk odyssé.