Miranda Aldhouse-Green – författare

Using archaeology and social anthropology, and more than 100 original line drawings and photographs, An Archaeology of Images takes a fresh look at how ancient images of both people and animals were used in the Iron Age and Roman societies of Europe, 600 BC to AD 400 and investigates the various meanings with which images may have been imbued.

The book challenges the usual interpretation of statues, reliefs and figurines as passive things to be looked at or worshipped, and reveals them instead as active artefacts designed to be used, handled and broken. It is made clear that the placing of images in temples or graves may not have been the only episode in their biographies, and a single image may have gone through several existences before its working life was over.

Miranda Aldhouse Green examines a wide range of other issues, from gender and identity to foreignness, enmity and captivity, as well as the significance of the materials used to make the images. The result is a comprehensive survey of the multifarious functions and experiences of images in the communities that produced and consumed them.

Challenging many previously held assumptions about the meaning and significance of Celtic and Roman art, An Archaeology of Images will be controversial yet essential reading for anyone interested in this area.

Using archaeology and social anthropology, and more than 100 original line drawings and photographs, An Archaeology of Images takes a fresh look at how ancient images of both people and animals were used in the Iron Age and Roman societies of Europe, 600 BC to AD 400 and investigates the various meanings with which images may have been imbued.

The book challenges the usual interpretation of statues, reliefs and figurines as passive things to be looked at or worshipped, and reveals them instead as active artefacts designed to be used, handled and broken. It is made clear that the placing of images in temples or graves may not have been the only episode in their biographies, and a single image may have gone through several existences before its working life was over.

Miranda Aldhouse Green examines a wide range of other issues, from gender and identity to foreignness, enmity and captivity, as well as the significance of the materials used to make the images. The result is a comprehensive survey of the multifarious functions and experiences of images in the communities that produced and consumed them.

Challenging many previously held assumptions about the meaning and significance of Celtic and Roman art, An Archaeology of Images will be controversial yet essential reading for anyone interested in this area.

When Roman troops threatened to seize the wealth of the Iceni people, their queen, Boudica, retaliated by inciting a major uprising, allying her tribe with the neighbouring Trinovantes. The ensuing clash is one of the most important - and dramatic - events in the history of Britain, standing testament to what can happen when an insensitive colonial power meets determined resistance from a subjugated people head-on.

In this fascinating account of a legendary figure, Miranda Aldhouse-Green raises questions about female power, colonial oppression, and whether Boudica would be seen today as a freedom fighter, terrorist or martyr.

When Roman troops threatened to seize the wealth of the Iceni people, their queen, Boudica, retaliated by inciting a major uprising, allying her tribe with the neighbouring Trinovantes. The ensuing clash is one of the most important - and dramatic - events in the history of Britain, standing testament to what can happen when an insensitive colonial power meets determined resistance from a subjugated people head-on.

In this fascinating account of a legendary figure, Miranda Aldhouse-Green raises questions about female power, colonial oppression, and whether Boudica would be seen today as a freedom fighter, terrorist or martyr.

Ancient Classical authors have painted the Druids in a bad light, defining them as a barbaric priesthood, who 2,000 years ago perpetrated savage and blood rites in ancient Britain and Gaul in the name of their gods. Archaeology tells a different and more complicated story of this enigmatic priesthood, a theocracy with immense political and sacred power. This book explores the tangible ‘footprint’ the Druids have left behind: in sacred spaces, art, ritual equipment, images of the gods, strange burial rites and human sacrifice. Their material culture indicates how close was the relationship between Druids and the spirit-world, which evidence suggests they accessed through drug-induced trance.

Ancient Classical authors have painted the Druids in a bad light, defining them as a barbaric priesthood, who 2,000 years ago perpetrated savage and blood rites in ancient Britain and Gaul in the name of their gods. Archaeology tells a different and more complicated story of this enigmatic priesthood, a theocracy with immense political and sacred power. This book explores the tangible ‘footprint’ the Druids have left behind: in sacred spaces, art, ritual equipment, images of the gods, strange burial rites and human sacrifice. Their material culture indicates how close was the relationship between Druids and the spirit-world, which evidence suggests they accessed through drug-induced trance.