Stephen Houston – författare

The definitive history of the Maya, fully updated with the latest archaeological studies. The Maya has long been established as the best, most readable introduction to the ancient Maya on the market today. This classic book has been updated by distilling the latest scholarship for the general reader and student. This tenth edition incorporates the most recent archaeological and epigraphic findings, which continue to proceed at a fast pace, along with full-colour illustrations. The new material includes evidence of the earliest human occupants of the Maya region and the beginnings of agriculture and settled life; analysis from lidar on swampy areas, such as Usumacinta, that show enormous rectangle earthworks, including Aguada Fénix, dating from 1050 to 750 BC; and recent advances in decoding Maya writing and imagery. It also expands on information on the roles of women, courtiers and outsiders; covers novel research about Maya cities, including research into water quality, marketplaces, fortifications and integrated road systems; and features coverage of more recent Maya history, including the displacement and mistreatment of the Maya people, along with growing affirmations of their cultural identity and rights. Highlighting the vitality of current scholarship about this brilliant culture, The Maya remains the gold standard introductory book on the subject.

How scribes of the ancient Maya pictured sound and meaning through inventive hieroglyphic writing that pulsed with vitality and witFor two millennia, the ancestral Maya of Mexico and Central America created a rich legacy of image and text. Vital Signs explains how this graphic system worked, shedding new light on its design, intent, and authorship.One of the few peoples of the ancient world with hieroglyphic writing, the Maya developed an innovative form of visual representation in which written signs, known as “glyphs,” took their shape from pictures. In this groundbreaking book, archaeologist and anthropologist Stephen Houston shows how recent decipherments of this system unveil a world where sacred kings and dynastic courts affirmed the truths that upheld their authority and underpinned the cosmos. He explores how scribes and sculptors created vibrant, sometimes humorous glyphs and images saturated with esoteric messages. Houston covers a host of topics along the way, such as how Maya artists conveyed sound, movement, size, and scale, thus expressing their deepest beliefs about transient things and meaningful space.Drawing on more than four decades of research by a leading scholar of Maya civilization, Vital Signs reveals larger human histories of how the eyes could be coaxed to hear and static forms brought to life in the visual culture of the Maya.Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC

The Decipherment of Ancient Maya Writing is an important story of intellectual discovery and a tale of code breaking comparable to the interpreting of Egyptian hieroglyphs and the decoding of cuneiform. Using classic articles taken from publications unavailable to most readers, accounts by Spaniards who witnessed the writing of the glyphs and research by twentieth-century scholars--from Tatiana Proskouriakoff to Michael Coe--this book provides a history of the interpretation of Maya hieroglyphs. Introductory essays offer the historical context and describe the personalities and theories of the many authors who contributed to the understanding of these ancient glyphs.More than two hundred line drawings illustrate the text and serve as an introduction to decipherment. This landmark work in Maya studies is the first book to examine the centuries of thought behind the decoding of Maya hieroglyphs.

The two volumes of Royal Courts of the Ancient Maya provide current archaeological perspectives on Maya courts conceived as vital, functioning social groups composed of lords, courtiers, scribes, priests, and entertainers, among many others. In addition to archaeological data on the architecture and other spatial attributes of courts, the studies in the two volumes bring to bear on the topic the most recent evidence from inscriptions, vase paintings, murals and friezes, and ethnohistoric records in order to flesh out a portrait of the actors and roles that made up Maya courts through time and across space. The attributes of courts are explored in the Maya highlands and lowlands, from the origins of early kingship through the Classic period to the Postclassic and Terminal epochs. Pertinent comparisons are also drawn from the Aztecs and other ancient and contemporary societies. Volume 1: Theory, Comparison, and Synthesis establishes a carefully considered framework for approaching the study of courts and their functions throughout the world of the ancient Maya. Volume 2: Data and Case Studies provides authoritatively current data and insights from key Maya sites, including Copán, Tikal, Caracol, Bonampak, and Calakmul.

The two volumes of Royal Courts of the Ancient Maya provide current archaeological perspectives on Maya courts conceived as vital, functioning social groups composed of lords, courtiers, scribes, priests, and entertainers, among many others. In addition to archaeological data on the architecture and other spatial attributes of courts, the studies in the two volumes bring to bear on the topic the most recent evidence from inscriptions, vase paintings, murals and friezes, and ethnohistoric records in order to flesh out a portrait of the actors and roles that made up Maya courts through time and across space. The attributes of courts are explored in the Maya highlands and lowlands, from the origins of early kingship through the Classic period to the Postclassic and Terminal epochs. Pertinent comparisons are also drawn from the Aztecs and other ancient and contemporary societies. Volume 1: Theory, Comparison, and Synthesis establishes a carefully considered framework for approaching the study of courts and their functions throughout the world of the ancient Maya. Volume 2: Data and Case Studies provides authoritatively current data and insights from key Maya sites, including Copán, Tikal, Caracol, Bonampak, and Calakmul.

A common belief is that systems of writing are committed to transparency and precise records of sound. The target is the language behind such marks. Readers, not viewers, matter most, and the most effective graphs largely record sound, not meaning. But what if embellishments mattered deeply - if hidden writing, slow to produce, slow to read, played as enduring a role as more accessible graphs? What if meaningful marks did service alongside records of spoken language? This book, a compilation of essays by global authorities on these subjects, zeroes in on hidden writing and alternative systems of graphic notation. Essays by leading scholars explore forms of writing that, by their formal intricacy, deflect attention from language. The volume also examines graphs that target meaning directly, without passing through the filter of words and the medium of sound. The many examples here testify to human ingenuity and future possibilities for exploring enriched graphic communication.

In 1950, Dana Lamb, an explorer of some notoriety, stumbled on a Maya ruin in the tropical forests of northern Guatemala. Lamb failed to record the location of the site he called Laxtunich, turning his find into the mystery at the center of this book. The lintels he discovered there, long since looted, are probably of a set with two others that are among the masterworks of Maya sculpture from the Classic period. Using fieldwork, physical evidence, and Lamb's expedition notes, the authors identify a small area with archaeological sites where the carvings were likely produced. Remarkably, the vividly colored lintels, replete with dynastic and cosmic information, can be assigned to a carver, Mayuy, who sculpted his name on two of them. To an extent nearly unique in ancient America, Mayuy can be studied over time as his style developed and his artistic ambition grew. An in-depth analysis of Laxtunich Lintel 1 examines how Mayuy grafted celestial, seasonal, and divine identities onto a local magnate and his overlord from the kingdom of Yaxchilan, Mexico. This volume contextualizes the lintels and points the way to their reprovenancing and, as an ultimate aim, repatriation to Guatemala.

Presenting the results of six years of archaeological survey and excavation in and around the Maya kingdom of El Zotz, An Inconstant Landscape paints a complex picture of a dynamic landscape over the course of almost 2,000 years of occupation. El Zotz was a dynastic seat of the Classic period in Guatemala. Located between the renowned sites of Tikal and El Perú-Waka’, it existed as a small kingdom with powerful neighbors and serves today as a test-case of political debility and strength during the height of dynastic struggles among the Classic Maya.  In this volume, contributors address the challenges faced by smaller polities on the peripheries of powerful kingdoms and ask how subordination was experienced and independent policy asserted. Leading experts provide cutting-edge analysis in varied topics and detailed discussion of the development of this major site and the region more broadly. The first half of the volume contains a historical narrative of the cultural sequence of El Zotz, tracing the changes in occupation and landscape use across time; the second half provides deep technical analyses of material evidence, including soils, ceramics, stone tools, and bone.  The ever-changing, inconstant landscapes of peripheral kingdoms like El Zotz reveal much about their more dominant—and better known—neighbors. An Inconstant Landscape offers a comprehensive, multidisciplinary view of this important but under-studied site, an essential context for the study of the Classic Maya in Guatemala, and a premier reference on the subject of peripheral kingdoms at the height of Maya civilization.  Contributors: Timothy Beach, Nicholas Carter, Ewa Czapiewska-Halliday, Alyce de Carteret, William Delgado, Colin Doyle, James Doyle, Laura Gámez, Jose Luis Garrido López, Yeny Myshell Gutiérrez Castillo, Zachary Hruby, Melanie Kingsley, Sheryl Luzzadder-Beach, Cassandra Mesick Braun, Sarah Newman, Rony Piedrasanta, Edwin Román, and Andrew K. Scherer

This volume gathers papers from the first conference ever to be held on the disappearance of writing systems, in Oxford in March 2004. While the invention and decipherment of writing systems have long been focuses of research, their eclipse or replacement have been little studied. Because writing is so important in many cultures and civilizations, its disappearance - followed by a period without it or by replacement by a different writing system - is of almost equal significance to invention as a mark of radical change. Probably more writing systems have disappeared than survived in the last five thousand years. Case studies from the Old and New Worlds are presented, ranging over periods from the first millennium BC to the present. In order to address many types of transmission, the broadest possible definition of 'writing' is used, notably including Mexican pictography and the Andean khipu system.One chapter discusses the larger proportion of known human societies which have not possessed complex material codes like writing, offering an alternative perspective on the long-term transmission of socially salient subjects.A concluding essay draws out common themes and offers an initial synthesis of results. This volume offers a new perspective on approaches to writing that will be significant for the understanding of writing systems and their social functions, literacy, memory, and high-cultural communication systems in general.

This volume gathers papers from the first conference ever to be held on the disappearance of writing systems, in Oxford in March 2004. While the invention and decipherment of writing systems have long been focuses of research, their eclipse or replacement have been little studied. Because writing is so important in many cultures and civilizations, its disappearance - followed by a period without it or by replacement by a different writing system - is of almost equal significance to invention as a mark of radical change. Probably more writing systems have disappeared than survived in the last five thousand years. Case studies from the Old and New Worlds are presented, ranging over periods from the first millennium BC to the present. In order to address many types of transmission, the broadest possible definition of 'writing' is used, notably including Mexican pictography and the Andean khipu system. One chapter discusses the larger proportion of known human societies which have not possessed complex material codes like writing, offering an alternative perspective on the long-term transmission of socially salient subjects.There is a concluding essay that draws out common themes and offers an initial synthesis of results. The volume offers a new perspective on approaches to writing that will be significant for the understanding of writing systems and their social functions, literacy, memory, and high-cultural communication systems in general.

Stephen D. Houston has spent decades studying the nature of writing systems, which “are so very basic as nodes of connection among many aspects of human experience,” such as language, communication, identity, technology, and the recording of memory. “One of the misconceptions about writing is that a particular system of script comes into existence, remains the same, and then ‘dies,’” said Houston.“This notion radically and wrongly dehistoricizes systems of writing. We now know that scripts exist as fluid sets of practices, shifting over long periods of time and in response to changing historical circumstances, conditions of learning, and arenas of patronage and use.” For this advanced seminar “The Shape of Script: How and Why Writing Systems Change,” 10 specialists convened to address “the question of what happens between the origins of a writing system and the time of eventual ‘script death,’ or extinction.” Although scholars are close to conceptualizing the way scripts emerge and pass into obsolescence, they are still far from explaining how scripts maintain themselves over time or how and why they change when they do. “This is unfortunate: writing is one of the central cultural productions in human history, yet its many modulations and shifts seem largely to be taken for granted, without need for explanation. Writing is a pivotal intermediary in many human transactions. But it needs to be brought back into the fold of anthropology, not as a marginal specialty but as an indispensable tool by which knowledge is transmitted.” The seminar, conceived as a capstone to a 10-year project to resuscitate and renovate the study of past writing systems within anthropology, brought together experts in script traditions including Egyptian hieroglyphs, Latin writing and Mediterranean alphabets, cuneiform, South Asian scripts, ancient Roman script, and premodern Arabic, Japanese, Chinese, and Mesoamerican writing systems. Using cross-cultural comparisons, the participants sought to understand the forces that influence the courses of writing systems. Houston emphasized the importance of examining context:“What is the physical, temporal, social, and cultural setting for the way the message of writing is accessed? That is where history enters the picture, within a place of contingency, challenge, and opportunity.” Among the questions driving the discussions were the following: What processes affected formal changes in scripts? What agents or actors were involved in such shifts, either actively or passively? How was literacy achieved, then futhered or restricted? How did aesthetics and the use of script shape each other? What influence did technologies have on script forms? How was writing “gendered” or “aged” or “classed”?And what are the linkages between images and script? Of particular interest was the issue of generational transfer. “This brings us to matters on the cutting edge of anthropology:What is the role of being a child, or an adolescent? What do we learn? When and why do we learn it? This is what’s involved in making sure that script survives more than that initial act of innovation, so that it’s used again and again, across generations,” Houston said.