Kevin M McGeough – författare

The Romans provides an accessible introduction to the history, society, and scholarship of one of the most captivating and enduring civilizations in human history. From the establishment of the monarchy and the Republican era to the decline of the Empire, this comprehensive volume examines every aspect of Roman culture from both historical and archaeological perspectives. In addition to surveying the well-estbalished subjects of Roman history, author Kevin McGeough discusses the latest events in the archaeological investigation of Rome, such as the recent excavations at the Temple of Castor and Pollux in the Roman Forum and the controversial identification of an ossuary thought by some to hold the body of James, the brother of Jesus. The text is accompanied by carefully chosen illustrations, maps, a glossary, and chronology. Throughout, general readers and students will gain a vivid understanding of Roman civilization and of why it still captures our imagination today.

The sacred chest said to have been built by the Israelites to house the stone tablets on which the Ten Commandments were written, the Ark of the Covenant has long captured the popular imagination. According to the Bible, the Israelites carried it with them as they wandered in the wilderness and entered the promised land. After the Temple of Solomon was built, the Ark was kept in an inner sanctum where God made his divine presence felt to the Israelites. The Hebrew Bible is unclear about what happened to the Ark after the destruction of the temple and offers vague accounts of its function. Despite (or because of) this ambiguity, the Ark continues to hold an important place in Jewish and Christian tradition, even in its absence, and has led to much popular speculation. Widely imagined and re-imagined, it is perhaps today best known in popular culture as the object sought by Indiana Jones in the 1981 film Raiders of the Lost Ark. In Readers of the Lost Ark Kevin McGeough explores the different ways people have interpreted and made sense of the Ark from ancient times to the present, in biblical literature, theological discourse, art, popular film, travel souvenirs, toys, faith-healing events, and alternative histories. The book recounts stories of people who have sought to find the Ark of the Covenant and examines how the Ark takes on new meanings in Europe, North America, East Asia, Ethiopia, and the modern Middle East.

The sacred chest said to have been built by the Israelites to house the stone tablets on which the Ten Commandments were written, the Ark of the Covenant has long captured the popular imagination. According to the Bible, the Israelites carried it with them as they wandered in the wilderness and entered the promised land. After the Temple of Solomon was built, the Ark was kept in an inner sanctum where God made his divine presence felt to the Israelites. The Hebrew Bible is unclear about what happened to the Ark after the destruction of the temple and offers vague accounts of its function. Despite (or because of) this ambiguity, the Ark continues to hold an important place in Jewish and Christian tradition, even in its absence, and has led to much popular speculation. Widely imagined and re-imagined, it is perhaps today best known in popular culture as the object sought by Indiana Jones in the 1981 film Raiders of the Lost Ark. In Readers of the Lost Ark Kevin McGeough explores the different ways people have interpreted and made sense of the Ark from ancient times to the present, in biblical literature, theological discourse, art, popular film, travel souvenirs, toys, faith-healing events, and alternative histories. The book recounts stories of people who have sought to find the Ark of the Covenant and examines how the Ark takes on new meanings in Europe, North America, East Asia, Ethiopia, and the modern Middle East.

The sacred chest said to have been built by the Israelites to house the stone tablets on which the Ten Commandments were written, the Ark of the Covenant has long captured the popular imagination. According to the Bible, the Israelites carried it with them as they wandered in the wilderness and entered the promised land. After the Temple of Solomon was built, the Ark was kept in an inner sanctum where God made his divine presence felt to the Israelites. The Hebrew Bible is unclear about what happened to the Ark after the destruction of the temple and offers vague accounts of its function. Despite (or because of) this ambiguity, the Ark continues to hold an important place in Jewish and Christian tradition, even in its absence, and has led to much popular speculation. Widely imagined and re-imagined, it is perhaps today best known in popular culture as the object sought by Indiana Jones in the 1981 film Raiders of the Lost Ark. In Readers of the Lost Ark Kevin McGeough explores the different ways people have interpreted and made sense of the Ark from ancient times to the present, in biblical literature, theological discourse, art, popular film, travel souvenirs, toys, faith-healing events, and alternative histories. The book recounts stories of people who have sought to find the Ark of the Covenant and examines how the Ark takes on new meanings in Europe, North America, East Asia, Ethiopia, and the modern Middle East.

The 69th volume of the Annual of the American Schools of Oriental Research is devoted to studies of botanical and faunal remains from three major sites in Jordan: Tall al'Umayri (Bronze to early Iron Age), Karak Castle (Middle and Late Islamic Period), and Khirbet al-Mudayna al-'Aliya (early Iron Age). Although each paper reflects the work of different teams, they are all thematically linked by their contributions to the study of agro-pastoralist economic activities in the region. Each paper offers insight into contextually specific historical circumstances but also insight into agriculture and pastoralism more broadly. Likewise, each paper offers different approaches for working with faunal or botanical evidence that will be of interest to specialists in bioarchaeology more generally. Scholars of pastoralism will be interested in all of these papers, which touch on issues of foddering and animal consumption.

Representations of Antiquity in Film offers an introduction to how the ancient world is represented in film and especially Hollywood cinema. McGeough considers the potential that movies have for helping us think about antiquity and their relationship to more traditional academic historical work. The book shows how contemporary issues are drawn out through the cinematic presentations of the past and how modern values are naturalized through their presentation in ancient settings. Through discussion of films from the silent film era to the present, McGeough traces the formative role that films of various genres have had in shaping our perceptions of Egypt, Mesopotamia, the Holy Land, Greece, Rome, barbarian Europe, and the Maya. Not ignoring the traditional historical epic film, the book also presents detailed analyses of comedies, action films, art house fare, exploitation flicks and any type of movie in which audiences experience depictions of the past. By considering cinematic narrative as well as various elements of film design, McGeough presents a comprehensive overview of the topic designed for students and scholars with varying backgrounds in media studies, archaeology, religious studies, and ancient history.

Representations of Antiquity in Film offers an introduction to how the ancient world is represented in film and especially Hollywood cinema. McGeough considers the potential that movies have for helping us think about antiquity and their relationship to more traditional academic historical work. The book shows how contemporary issues are drawn out through the cinematic presentations of the past and how modern values are naturalized through their presentation in ancient settings. Through discussion of films from the silent film era to the present, McGeough traces the formative role that films of various genres have had in shaping our perceptions of Egypt, Mesopotamia, the Holy Land, Greece, Rome, barbarian Europe, and the Maya. Not ignoring the traditional historical epic film, the book also presents detailed analyses of comedies, action films, art house fare, exploitation flicks and any type of movie in which audiences experience depictions of the past. By considering cinematic narrative as well as various elements of film design, McGeough presents a comprehensive overview of the topic designed for students and scholars with varying backgrounds in media studies, archaeology, religious studies, and ancient history.

The Reception of Archaeology in Film is an appraisal of how the profession of archaeology and its related fields are presented in Hollywood cinema.Using the Indiana Jones series as a jumping off point, McGeough explores how these movies inspire the public’s interest in the past but simultaneously complicate that interest. The Reception of Archaeology in Film shows how the stories told about the profession are often more entangled with the history of film than the history of the cultures the cinematic characters are exploring.Concentrating on the social meanings that are constructed through these films rather than critiquing the accuracy of archaeological techniques depicted, the book examines how the repetition of tropes about the past and its relationships to different communities informs contemporary arguments. Issues of imperialism and colonialism tie into larger questions that the field of archaeology grapples with. Other issues, such as the ubiquity of violence in these movies and the reframing of antiquities as powerful weapons point to other social tensions. The treatment of the past as something to be rescued, as something to be fought for, and as something that can be translated into financial gain all impact contemporary policies about heritage. Lines are drawn in these films between which kinds of conduct toward the past are heroic, which are evil, which are criminal, and which are ethical, and these impact viewer perceptions in powerful but not necessarily readily apparent ways.Aimed at students and scholars, this book is suitable for those well familiar with movies, archaeology, and critical theory, and those who want an introduction to the subject.

The Reception of Archaeology in Film is an appraisal of how the profession of archaeology and its related fields are presented in Hollywood cinema.Using the Indiana Jones series as a jumping off point, McGeough explores how these movies inspire the public’s interest in the past but simultaneously complicate that interest. The Reception of Archaeology in Film shows how the stories told about the profession are often more entangled with the history of film than the history of the cultures the cinematic characters are exploring.Concentrating on the social meanings that are constructed through these films rather than critiquing the accuracy of archaeological techniques depicted, the book examines how the repetition of tropes about the past and its relationships to different communities informs contemporary arguments. Issues of imperialism and colonialism tie into larger questions that the field of archaeology grapples with. Other issues, such as the ubiquity of violence in these movies and the reframing of antiquities as powerful weapons point to other social tensions. The treatment of the past as something to be rescued, as something to be fought for, and as something that can be translated into financial gain all impact contemporary policies about heritage. Lines are drawn in these films between which kinds of conduct toward the past are heroic, which are evil, which are criminal, and which are ethical, and these impact viewer perceptions in powerful but not necessarily readily apparent ways.Aimed at students and scholars, this book is suitable for those well familiar with movies, archaeology, and critical theory, and those who want an introduction to the subject.