This volume begins a discourse on the implications of performing archaeology in a world dominated by modern trends of mass production, mass replication and representation of cultural forms, and mass consumption of images of the past. The contributors explore the extent to which contemporary consumption of mass-produced replicas, simulations, images and experiences of the past cause a crisis of representation of the past. Eschewing romantic beliefs, it discusses what archaeology can do.
|Product dimensions:||6.14(w) x 9.25(h) x 0.04(d)|
Table of Contents
Foreword.- Introduction: Images of the Past: Archaeologies, Modernities, Crises and Poetics.- Part One: Archaeologically Imagined Communities.- Introduction.- Archaeological Tourism: A Signpost to National Identity.- Irish Images on English Goods in the American Market: The Materialization of a Modern Irish Heritage.- Representing Spirit: Heathenry, New-Indigenes and the Imaged Past.- Responses.- Part Two: Archaeologies and Opportunities.- Introduction.- The Role of Archaeology in Presenting the Past to the Public.- Assessing the Role of Digital Technologies for the Development of Cultural Resources as Socoeconomic Assets.- Experiencing Archaeology in the Dream Society.- Responses.- Part 3: The 'Crisis of Representation' of the Past.- Introduction.- Towards Archaeologies of Memories of the Past and Planning Futures: Engaging the Faustian Bargain of 'Crises of Interpretation'.- Collective Memory and the Museum: Towards a Reconciliation of Philosophy, History and Memory in Daniel Libeskind's Jewish Museum.- The Simulacra and Simulations of Irish Neolithic Passage Tombs.- Responses.- Part 4: Poetic Archaeologies and Movements Beyond Modernity.- Introduction.- Practice Makes Perfect: A Discussion of the Place of the Brochure Image in Landscape Tourism.- Bog Bodies and Bog Lands: Trophies of Science, Art and the Imagination.- Who Wants to Visit a Cultural Heritage Site? A Walk Through an Archaeological Site with a Visual and Bodily Experience.- Responses.- Concluding Remarks.