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Place, Memory, and Healing: An Archaeology of Anatolian Rock Monuments investigates the complex and deep histories of places, how they served as sites of memory and belonging for local communities over the centuries, and how they were appropriated and monumentalized in the hands of the political elites. Focusing on Anatolian rock monuments carved into the living rock at watery landscapes during the Late Bronze and Early Iron Ages, this book develops an archaeology of place as a theory of cultural landscapes and as an engaged methodology of fieldwork in order to excavate the genealogies of places.Advocating that archaeology can contribute substantively to the study of places in many fields of research and engagement within the humanities and the social sciences, this book seeks to move beyond the oft-conceived notion of places as fixed and unchanging, and argues that places are always unfinished, emergent, and hybrid. Rock cut monuments of Anatolian antiquity are discussed in the historical and micro-regional context of their making at the time of the Hittite Empire and its aftermath, while the book also investigates how such rock-cut places, springs, and caves are associated with new forms of storytelling, holy figures, miracles, and healing in their post-antique life. Anybody wishing to understand places of cultural significance both archaeologically as well as through current theoretical lenses such as heritage studies, ethnography of landscapes, social memory, embodied and sensory experience of the world, post-colonialism, political ecology, cultural geography, sustainability, and globalization will find the case studies and research within this book a doorway to exploring places in new and rewarding ways.

"The History of Art: A Global View answers the urgent need for a more global, inclusive way to teach the history of the world’s art. Led by Jean Robertson and Deborah Hutton, eleven specialists have cohered around the shared goal of bringing multiple perspectives to a worldwide narrative. The resulting survey represents every global region as an important part of an integrated, chronological history that emphasizes cross-cultural connections, contrasts and comparisons.The first major art history textbook of the 21st century, The History of Art: A Global View equips students to understand the history of art in new and revealing ways."

Written by a team of authors whose expertise spans the globe, The History of Art: A Global View is the first major art history survey text built from a truly global perspective. Its chronological organization shows students how art developed simultaneously around the world, encouraging them to draw cross-cultural connections. The book’s brief, modular chapter structure allows for maximum flexibility when designing your course, as chapters can be taught in any order or skipped altogether. A new Norton Illumine Ebook helps students engage more deeply with key concepts throughout the chapter, with interactives that help students practice their visual analysis skills.

Written by a team of authors whose expertise spans the globe, The History of Art: A Global View is the first major art history survey text built from a truly global perspective. Its chronological organization shows students how art developed simultaneously around the world, encouraging them to draw cross-cultural connections. The book’s brief, modular chapter structure allows for maximum flexibility when designing your course, as chapters can be taught in any order or skipped altogether. A new Norton Illumine Ebook helps students engage more deeply with key concepts throughout the chapter, with interactives that help students practice their visual analysis skills.

Written by a team of authors whose expertise spans the globe, The Concise History of Art: A Global View offers a focused narrative that is truly representative of global art, spanning prehistory to the present. Its chronological organization shows students how art developed simultaneously around the world, encouraging them to draw cross-cultural connections. Each of the book’s four Parts is introduced with a thematic chapter that sets the stage for the artworks found in the chapters that follow. The Norton Illumine Ebook and InQuizitive adaptive learning tool help students engage more deeply with key concepts and practice their visual analysis skills.

Place, Memory, and Healing: An Archaeology of Anatolian Rock Monuments investigates the complex and deep histories of places, how they served as sites of memory and belonging for local communities over the centuries, and how they were appropriated and monumentalized in the hands of the political elites. Focusing on Anatolian rock monuments carved into the living rock at watery landscapes during the Late Bronze and Early Iron Ages, this book develops an archaeology of place as a theory of cultural landscapes and as an engaged methodology of fieldwork in order to excavate the genealogies of places.Advocating that archaeology can contribute substantively to the study of places in many fields of research and engagement within the humanities and the social sciences, this book seeks to move beyond the oft-conceived notion of places as fixed and unchanging, and argues that places are always unfinished, emergent, and hybrid. Rock cut monuments of Anatolian antiquity are discussed in the historical and micro-regional context of their making at the time of the Hittite Empire and its aftermath, while the book also investigates how such rock-cut places, springs, and caves are associated with new forms of storytelling, holy figures, miracles, and healing in their post-antique life. Anybody wishing to understand places of cultural significance both archaeologically as well as through current theoretical lenses such as heritage studies, ethnography of landscapes, social memory, embodied and sensory experience of the world, post-colonialism, political ecology, cultural geography, sustainability, and globalization will find the case studies and research within this book a doorway to exploring places in new and rewarding ways.

For most people the mention of graffiti conjures up notions of subversion, defacement, and underground culture. Yet, the term was coined by classical archaeologists excavating Pompeii in the 19th century and has been embraced by modern street culture: graffiti have been left on natural sites and public monuments for tens of thousands of years. They mark a position in time, a relation to space, and a territorial claim. They are also material displays of individual identity and social interaction. As an effective, socially accepted medium of self-definition, ancient graffiti may be compared to the modern use of social networks.This book shows that graffiti, a very ancient practice long hidden behind modern disapproval and street culture, have been integral to literacy and self-expression throughout history. Graffiti bear witness to social events and religious practices that are difficult to track in normative and official discourses. This book addresses graffiti practices, in cultures ranging from ancient China and Egypt through early modern Europe to modern Turkey, in illustrated short essays by specialists. It proposes a holistic approach to graffiti as a cultural practice that plays a key role in crucial aspects of human experience and how they can be understood.

For most people the mention of graffiti conjures up notions of subversion, defacement, and underground culture. Yet, the term was coined by classical archaeologists excavating Pompeii in the 19th century and has been embraced by modern street culture: graffiti have been left on natural sites and public monuments for tens of thousands of years. They mark a position in time, a relation to space, and a territorial claim. They are also material displays of individual identity and social interaction. As an effective, socially accepted medium of self-definition, ancient graffiti may be compared to the modern use of social networks.This book shows that graffiti, a very ancient practice long hidden behind modern disapproval and street culture, have been integral to literacy and self-expression throughout history. Graffiti bear witness to social events and religious practices that are difficult to track in normative and official discourses. This book addresses graffiti practices, in cultures ranging from ancient China and Egypt through early modern Europe to modern Turkey, in illustrated short essays by specialists. It proposes a holistic approach to graffiti as a cultural practice that plays a key role in crucial aspects of human experience and how they can be understood.

For most people the mention of graffiti conjures up notions of subversion, defacement, and underground culture. Yet, the term was coined by classical archaeologists excavating Pompeii in the 19th century and has been embraced by modern street culture: graffiti have been left on natural sites and public monuments for tens of thousands of years. They mark a position in time, a relation to space, and a territorial claim. They are also material displays of individual identity and social interaction. As an effective, socially accepted medium of self-definition, ancient graffiti may be compared to the modern use of social networks. This book shows that graffiti, a very ancient practice long hidden behind modern disapproval and street culture, have been integral to literacy and self-expression throughout history. Graffiti bear witness to social events and religious practices that are difficult to track in normative and official discourses. This book addresses graffiti practices, in cultures ranging from ancient China and Egypt through early modern Europe to modern Turkey, in illustrated short essays by specialists. It proposes a holistic approach to graffiti as a cultural practice that plays a key role in crucial aspects of human experience and how they can be understood.

For most people the mention of graffiti conjures up notions of subversion, defacement, and underground culture. Yet, the term was coined by classical archaeologists excavating Pompeii in the 19th century and has been embraced by modern street culture: graffiti have been left on natural sites and public monuments for tens of thousands of years. They mark a position in time, a relation to space, and a territorial claim. They are also material displays of individual identity and social interaction. As an effective, socially accepted medium of self-definition, ancient graffiti may be compared to the modern use of social networks. This book shows that graffiti, a very ancient practice long hidden behind modern disapproval and street culture, have been integral to literacy and self-expression throughout history. Graffiti bear witness to social events and religious practices that are difficult to track in normative and official discourses. This book addresses graffiti practices, in cultures ranging from ancient China and Egypt through early modern Europe to modern Turkey, in illustrated short essays by specialists. It proposes a holistic approach to graffiti as a cultural practice that plays a key role in crucial aspects of human experience and how they can be understood.