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Archaeology and Ethnohistory of Native Puerto Rico
Native American cultures of Puerto Rico prior to the arrival of the Spanish in 1493.
A Dan Josselyn Memorial Publication
Within the last 50 years archaeologists have discovered that around the 10th century A.D., native southeastern peoples began a process of cultural change far more complex than anything that had occurred previously. These late prehistoric societies—known as Mississippian—have come to be regarded as chiefdoms. The chiefdoms are of great anthropological interest because in these kinds of societies social hierarchies or rank and status were first institutionalized.
Ancient Chiefdoms of the Tombigbee focuses on both the small- and large-scale Mississippian societies in the Tombigbee-Black Warrior River region of Alabama and Mississippi. Exploring the relationships involving polity size, degree of social ranking, and resource control provides insights into cycles of chiefdom development and fragmentation. Blitz concludes that the sanctified, security maintenance roles of communal food storage management and war leadership were a sufficient basis for formal chiefly authority but insufficient for economically based social stratification.
Archaeologists are unsure exactly when the Maya inhabited the coastal areas of Belize, but ample evidence exists to support an extensive maritime trade network along the coast by A.D. 600 This volume focuses on the maritime trade network sites on Ambergris Caye, Belize where excavations have revealed remnants of very small villages, or camps, along the Caribbean coastline.
Archaeology and the Arts
Known widely in Europe as "interpretive narrative archaeology," the practice of using creative methods to interpret and present current knowledge of the past is gaining popularity in North America. This book is the first compilation of international case studies of the various artistic methods used in this new form of education—one that makes archaeology "come alive" for the nonprofessional. Plays, opera, visual art, stories, poetry, performance dance, music, sculpture, digital imagery—all can effectively communicate archaeological processes and cultural values to public audiences.
The 23 contributors to this volume are a diverse group of archaeologists, educators, and artisans who have direct experience in schools, museums, and at archaeological sites. Citing specific examples, such as the film The English Patient, science fiction mysteries, and hypertext environments, they explain how creative imagination and the power of visual and audio media can personalize, contextualize, and demystify the research process. A 16-page color section illuminates their examples, and an accompanying CD includes relevant videos, music, web sites, and additional color images.
In their Introduction, the editors invoke the ancient muses to inspire the modern presenters and interpreters of archaeological research. They aptly quote George Santayana, from his poem "The Power of Art":
". . . may our hands immortalize the day
When life was sweet, and save from utter death
The sacred past that should not pass away."
John H. Jameson Jr. is an archaeologist and John E. Ehrenhard is Director at the National Park Service's Southeast Archeological Center in Tallahassee, Florida. Christine A. Finn is research associate at the Institute of Archaeology at the University of Oxford in England.
A Twenty-One-Year-Old in Mississippi in 1964
Experiments in New Media Aesthetics and Environmental Poetics
Archaeological and Historical Perspectives on Cultural Interactions in the Southern Colonies
The 18th-century South was a true melting pot, bringing together colonists from England, France, Germany, Ireland, Switzerland, and other locations, in addition to African slaves—all of whom shared in the experiences of adapting to a new environment and interacting with American Indians. The shared process of immigration, adaptation, and creolization resulted in a rich and diverse historic mosaic of cultures.
The cultural encounters of these groups of settlers would ultimately define the meaning of life in the 19th-century South. The much-studied plantation society of that era and the Confederacy that sprang from it have become the enduring identities of the South. A full understanding of southern history is not possible, however, without first understanding the intermingling and interactions of the region's 18th-century settlers. In the essays collected here, some of the South's leading historical archaeologists examine various aspects of the colonial experience, attempting to understand how cultural identity was expressed, why cultural diversity was eventually replaced by a common identity, and how the various cultures intermeshed.
Written in accessible language, this book will be valuable to archaeologists and non-archaeologists alike. Cultural, architectural, and military historians, cultural anthropologists, geographers, genealogists, and others interested in the cultural legacy of the South will find much of value in this book.
In the Southeast, where the written record goes back five hundred years, historical archaeology is a subdivision of history as well as anthropology, for the compleat historical archaeologist mines all sources. The contributors to this volume on the colonial Carolinas and Georgia ask historical questions, provide ample historical contexts, and present their findings in the common language of scholarship.—The Journal of Southern History
Experimental Writing in the South
Another South is an anthology of poetry from contemporary southern writers who are working in forms that are radical, innovative, and visionary. Highly experimental and challenging in nature, the poetry in this volume, with its syntactical disjunctions, formal revolutions, and typographic playfulness, represents the direction of a new breed of southern writing that is at once universal in its appeal and regional in its flavor.
Focusing on poets currently residing in the South, the anthology includes both emerging and established voices in the national and international literary world. From the invocations of Andy Young's "Vodou Headwashing Ceremony" to the blues-informed poems of Lorenzo Thomas and Honorée Jeffers, from the different voicings of )ohn Lowther and Kalamu ya Salaam to the visual, multi-genre art of Jake Berry, David Thomas Roberts, and Bob Grumman, the poetry in Another South is rich in variety and enthusiastic in its explorations of new ways to embody place and time. These writers have made the South lush with a poetic avant-garde all its own, not only redefining southern identity and voice but also offering new models of what is possible universally through the medium of poetry.
Hank Lazer's introductory essay about "Kudzu textuality" contextualizes the work by these contemporary innovators. Like the uncontrollable runaway vine that entwines the southern landscape, their poems are hyperfertile, stretching their roots and shoots relentlessly, at once destructive and regenerative. In making a radical departure from nostalgic southern literary voices, these poems of polyvocal abundance are closer in spirit to "speaking in tongues" or apocalyptic southern folk art—primitive, astonishing, and mystic.