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From their beginnings, archaeology museums have reflected a complex and dynamic balance between the demands of developing, documenting, and preserving objects on the one hand and sharing knowledge, access, and control on the other. This balance has informed and inflected the ways that museums present the past, including both practical aspects of pedagogy and exhibition design as well as more critical and contested issues of authority, authenticity, and reflexivity in interpretation. Meeting the complex requirements of curation, deliberate collections growth, management, and conservation, as well as the need to respond to continuing challenges to the museum's right and title to hold various forms of cultural property, archaeological museums play an active role in both preserving and shaping the public's view of the past and reflect the prospects and perils of being at once a temple to the muses and a forum for sometimes contentious public discourse.

Lamberg-Karlovsky, C. C. "Politics and Archaeology : Colonialism, Nationalism, Ethnicity, and Archaeology, Part 1," The Review of Archaeology 18 (1997): 1-4, continué "Politics and Archaeology Colonialism, Nationalism, Ethnicity, and Archaeology, Part 2," The Review of Archaeology 19 (1998): 35-46.

This PhD analysing Christianism, liturgical space and decoration in protobyzantine territory of the actual Bulgaria purpose to define Christian protobyzantine art in Bulgaria. Bulgaria, which borders always kept moving during the medieval period, is a country of great interest as far as its geographic position as a crossroads is concerned. Indeed, since the Thrace era, many different ethnic groups and civilizations met and mingled with each other: Bulgaria is a convergence spot between the cultures of West and East Roman Empires on one hand, ethnic groups from the North and from the Mediterranean and Central Asian areas, located between both the Aral and the Caspian Seas, on the other.Moreover, this is such an interesting area as it is close to the imperial capital, Constantinople, and also a important christian center Salonica. Therefore, it seems useful to analyse the Byzantine power's influence over the development and progress of Christian art in these Balkan lands since the Late Antiquity to under Boris-Michel the First's reign. The point of this analysis is to initiate some serious thinking over the issue of artistic production drawn according to the multi-cultural and multi-ethnical heritage. But also to think about the great influence of an artistic, political, economical and religious spot. In the end, the analysis of the art expression cannot be clearly understood without a focus on the relationships between Christian art and the faithful people or clergy member.However, this study is mainly based on the observation of architectural art with the analysis of the design of cultural buildings, i.e. plans, spatial organizations and their evolution, but also on monumental and plastic decorative art. In this way, we wish to understand to what extent the liturgical space in Bulgaria today is a place of fusion between an official art defined by political and religious powers and an art of the faithful endowed with a technical, cultural and artistic heritage coming from the different cultures present on these ...

This PhD analysing Christianism, liturgical space and decoration in protobyzantine territory of the actual Bulgaria purpose to define Christian protobyzantine art in Bulgaria. Bulgaria, which borders always kept moving during the medieval period, is a country of great interest as far as its geographic position as a crossroads is concerned. Indeed, since the Thrace era, many different ethnic groups and civilizations met and mingled with each other: Bulgaria is a convergence spot between the cultures of West and East Roman Empires on one hand, ethnic groups from the North and from the Mediterranean and Central Asian areas, located between both the Aral and the Caspian Seas, on the other.Moreover, this is such an interesting area as it is close to the imperial capital, Constantinople, and also a important christian center Salonica. Therefore, it seems useful to analyse the Byzantine power's influence over the development and progress of Christian art in these Balkan lands since the Late Antiquity to under Boris-Michel the First's reign. The point of this analysis is to initiate some serious thinking over the issue of artistic production drawn according to the multi-cultural and multi-ethnical heritage. But also to think about the great influence of an artistic, political, economical and religious spot. In the end, the analysis of the art expression cannot be clearly understood without a focus on the relationships between Christian art and the faithful people or clergy member.However, this study is mainly based on the observation of architectural art with the analysis of the design of cultural buildings, i.e. plans, spatial organizations and their evolution, but also on monumental and plastic decorative art. In this way, we wish to understand to what extent the liturgical space in Bulgaria today is a place of fusion between an official art defined by political and religious powers and an art of the faithful endowed with a technical, cultural and artistic heritage coming from the different cultures present on these lands, however, by measuring its limits and the impact of its conception in the face of its proximity to a radiant and influential cultural and religious centre, what is Constantinople? The study is based in particular on a critical corpus and a database containing a large majority of Christian buildings discovered in present-day Bulgaria in order to provide a better understanding of the relationships established between architecture and object, but also on the circulation and organisation of buildings and the roles assigned to certain spaces. Archaeological sources as well as written sources are naturally the fundamental tools for this study and for understanding the mentalities, customs, liturgy and political, economic and religious contexts of these regions. In this way, we hope to bring new avenues of work in the field of research on Byzantine art and artistic productions from territories often perceived as Constantinople's "hinterlands". We also wish to bring new elements to the understanding of mentalities during the protobyzantine period, of the perception of art by the faithful and of their relations not only with the Christian religion but especially with the house of God. ; Ce doctorat a pour objectif, en étudiant le christianisme, l'art architectural et décoratif, de comprendre et d'analyser les interactions et les relations qui peuvent exister entre la liturgie, les pouvoirs étatiques et religieux, les fidèles et l'art sur le territoire de la Bulgarie actuelle. La Bulgarie, aux frontières fluctuantes durant toute la période médiévale est d'un grand intérêt par sa situation géographique de carrefour où depuis l'époque thrace se croisent et fusionnent différentes ethnies et civilisations. D'autre part, elle présente également une région intéressante pas sa proximité avec la capitale impériale, Constantinople, ou encore avec le grand centre chrétien qu'est Thessalonique. Il est donc nécessaire d'analyser dans ce sujet le poids et le rôle de cette puissance sur le développement et l'évolution de l'art chrétien produit sur ces terres balkaniques l'Antiquité Tardive jusqu'au règne de Boris Michel Ier. L'objectif est de s'interroger plus profondément sur la production artistique adoptée face à cet héritage multi-ethnique et multi-culturel, et la présence d'un pôle artistique, politique, économique et religieux à fort rayonnement. Par ailleurs, l'adoption de la religion chrétienne en tant que religion d'État en 864 conduit à nous interroger sur la naissance d'un État, avec en parallèle, cette mise en place officielle de la religion chrétienne. Cependant, cette étude repose surtout sur l'observation de l'art architectural avec l'analyse de la conception des édifices cultuels, c'est-à-dire les plans, les organisations spatiales et leurs évolutions mais également sur l'art décoratif monumental et plastique. Nous souhaitons ainsi comprendre dans quelle mesure l'espace liturgique en Bulgarie actuelle est un lieu de fusion entre un art officiel définit par les pouvoirs politiques et religieux et un art des fidèles pourvus d'un héritage technique, culturel et artistique issu des différentes cultures présentes sur ces terres, en mesurant cependant ses limites et l'impact de sa conception face à sa proximité d'un centre culturel et religieux rayonnant et influent, qu'est Constantinople ? L'étude s'appuie notamment sur un corpus critique et une base de données comprenant en grande majorité des édifices chrétiens mis au jour en Bulgarie actuelle de manière à apporter une meilleure compréhension des rapports établis entre l'architecture et l'objet, mais aussi sur la circulation et l'organisation des édifices et les rôles assignés à certains espaces. Les sources archéologiques comme les sources écrites sont naturellement les outils fondamentaux à cette étude et à la compréhension des mentalités, des mœurs, de la liturgie et des contextes politiques, économiques et religieux de ces régions. Nous espérons ainsi apporter de nouvelles pistes de travail dans le domaine de la recherche sur l'art byzantin et les productions artistiques des territoires souvent perçus comme des « hinterlands » de Constantinople. Nous souhaitons également apporter de nouveaux éléments à la compréhension des mentalités durant la période protobyzantine, de la perception de l'art par les fidèles et de leurs relations entretenues non seulement avec la religion chrétienne mais surtout avec la maison Dieu

This PhD analysing Christianism, liturgical space and decoration in protobyzantine territory of the actual Bulgaria purpose to define Christian protobyzantine art in Bulgaria. Bulgaria, which borders always kept moving during the medieval period, is a country of great interest as far as its geographic position as a crossroads is concerned. Indeed, since the Thrace era, many different ethnic groups and civilizations met and mingled with each other: Bulgaria is a convergence spot between the cultures of West and East Roman Empires on one hand, ethnic groups from the North and from the Mediterranean and Central Asian areas, located between both the Aral and the Caspian Seas, on the other.Moreover, this is such an interesting area as it is close to the imperial capital, Constantinople, and also a important christian center Salonica. Therefore, it seems useful to analyse the Byzantine power's influence over the development and progress of Christian art in these Balkan lands since the Late Antiquity to under Boris-Michel the First's reign. The point of this analysis is to initiate some serious thinking over the issue of artistic production drawn according to the multi-cultural and multi-ethnical heritage. But also to think about the great influence of an artistic, political, economical and religious spot. In the end, the analysis of the art expression cannot be clearly understood without a focus on the relationships between Christian art and the faithful people or clergy member.However, this study is mainly based on the observation of architectural art with the analysis of the design of cultural buildings, i.e. plans, spatial organizations and their evolution, but also on monumental and plastic decorative art. In this way, we wish to understand to what extent the liturgical space in Bulgaria today is a place of fusion between an official art defined by political and religious powers and an art of the faithful endowed with a technical, cultural and artistic heritage coming from the different cultures present on these lands, however, by measuring its limits and the impact of its conception in the face of its proximity to a radiant and influential cultural and religious centre, what is Constantinople? The study is based in particular on a critical corpus and a database containing a large majority of Christian buildings discovered in present-day Bulgaria in order to provide a better understanding of the relationships established between architecture and object, but also on the circulation and organisation of buildings and the roles assigned to certain spaces. Archaeological sources as well as written sources are naturally the fundamental tools for this study and for understanding the mentalities, customs, liturgy and political, economic and religious contexts of these regions. In this way, we hope to bring new avenues of work in the field of research on Byzantine art and artistic productions from territories often perceived as Constantinople's "hinterlands". We also wish to bring new elements to the understanding of mentalities during the protobyzantine period, of the perception of art by the faithful and of their relations not only with the Christian religion but especially with the house of God. ; Ce doctorat a pour objectif, en étudiant le christianisme, l'art architectural et décoratif, de comprendre et d'analyser les interactions et les relations qui peuvent exister entre la liturgie, les pouvoirs étatiques et religieux, les fidèles et l'art sur le territoire de la Bulgarie actuelle. La Bulgarie, aux frontières fluctuantes durant toute la période médiévale est d'un grand intérêt par sa situation géographique de carrefour où depuis l'époque thrace se croisent et fusionnent différentes ethnies et civilisations. D'autre part, elle présente également une région intéressante pas sa proximité avec la capitale impériale, Constantinople, ou encore avec le grand centre chrétien qu'est Thessalonique. Il est donc nécessaire d'analyser dans ce sujet le poids et le rôle de cette puissance sur le développement et l'évolution de l'art chrétien produit sur ces terres balkaniques l'Antiquité Tardive jusqu'au règne de Boris Michel Ier. L'objectif est de s'interroger plus profondément sur la production artistique adoptée face à cet héritage multi-ethnique et multi-culturel, et la présence d'un pôle artistique, politique, économique et religieux à fort rayonnement. Par ailleurs, l'adoption de la religion chrétienne en tant que religion d'État en 864 conduit à nous interroger sur la naissance d'un État, avec en parallèle, cette mise en place officielle de la religion chrétienne. Cependant, cette étude repose surtout sur l'observation de l'art architectural avec l'analyse de la conception des édifices cultuels, c'est-à-dire les plans, les organisations spatiales et leurs évolutions mais également sur l'art décoratif monumental et plastique. Nous souhaitons ainsi comprendre dans quelle mesure l'espace liturgique en Bulgarie actuelle est un lieu de fusion entre un art officiel définit par les pouvoirs politiques et religieux et un art des fidèles pourvus d'un héritage technique, culturel et artistique issu des différentes cultures présentes sur ces terres, en mesurant cependant ses limites et l'impact de sa conception face à sa proximité d'un centre culturel et religieux rayonnant et influent, qu'est Constantinople ? L'étude s'appuie notamment sur un corpus critique et une base de données comprenant en grande majorité des édifices chrétiens mis au jour en Bulgarie actuelle de manière à apporter une meilleure compréhension des rapports établis entre l'architecture et l'objet, mais aussi sur la circulation et l'organisation des édifices et les rôles assignés à certains espaces. Les sources archéologiques comme les sources écrites sont naturellement les outils fondamentaux à cette étude et à la compréhension des mentalités, des mœurs, de la liturgie et des contextes politiques, économiques et religieux de ces régions. Nous espérons ainsi apporter de nouvelles pistes de travail dans le domaine de la recherche sur l'art byzantin et les productions artistiques des territoires souvent perçus comme des « hinterlands » de Constantinople. Nous souhaitons également apporter de nouveaux éléments à la compréhension des mentalités durant la période protobyzantine, de la perception de l'art par les fidèles et de leurs relations entretenues non seulement avec la religion chrétienne mais surtout avec la maison Dieu.

Bibliography: pages 167-177. ; Accompanied by: Faizal's journey : discovering the past through objects. ; The topic of this dissertation developed out of the 1980s era of resistance to Apartheid. At that time, mass-campaigns produced the concept of People's Education, which challenged established State-structures. People's Education was based on participatory democracy and drew on communities' knowledge rather than state-sanctioned knowledge. The concept of People's Archaeology is a product of that time-period. It focuses on involving communities in the practice of archaeology, beyond the stage of consultation. Within the forthcoming election process, Black communities are to be empowered politically and this empowerment has, in other countries seen an accompanying growth in concerns about identity, cultural property and ownership. I argue that identity politics will be crucial in the future South African society and that archaeology will play an important role in this debate. The discipline faces transformation in the coming decade and education will be critical in this change. In this dissertation I contend that past attempts at popular education in archaeology have had very limited success. Archaeology still remains a discipline unknown to the majority of South Africans. This dissertation explores the reasons for the limited success of these attempts by critically examining the structure of the discipline in South Africa, and the perception that it creates to the public. It also goes further by exploring an alternative to these efforts at popular education through the use of principles and methods developed in People's Education. This project takes the debate about People's Archaeology beyond theory and attempts to implement some of the ideas through two projects, one dealing with an excavation, the other focusing on the production of a popular resource. I explore the pitfalls and benefits of these projects and make recommendations concerning the future of the discipline.

Introduction : archaeological anthropology / Duncan Garrow & Thomas Yarrow -- Not knowing as knowledge : asymmetry between archaeology and anthropology / Thomas Yarrow -- Triangulating absence : exploring the fault-lines between archaeology and anthropology / Gavin Lucas -- Spaces that were not densely occupied -- questioning 'ephemeral' evidence / Lesley McFadyen -- On the boundary : new perspectives from ethnography of archaeology / Matt Edgeworth -- Archaeology and the anthropology of memory : takes on the recent past / Paola Filippucci -- Resolving archaeological and ethnographic tensions : a case study from south-central California / David Robinson -- Words and things : thick description in archaeology and anthropology / Chris Gosden -- Re-evaluating the long term : civilisation and temporalities / Stephan Feuchtwang and Michael Rowlands -- Relational personhood as a subject of anthropology and archaeology : comparative and complementary analyses / Chris Fowler -- No more ancient; no more human : the future past of archaeology and anthropology / Tim Ingold -- Commentary. Boundary objects and asymmetries / Marilyn Strathern -- Commentary. Walls and bridges / Julian Thomas

Gender and Archaeology. Rita P. Wright. ed. Philadelphia: University of Pennsylvania Press, 1996. 296 pp.

Introduction : gendered ways of knowing archaeology Rita P. Wright -- Gender, reproduction, and feminine technologies How did prehistoric women bear "man the hunter"? : reconstructing fertility from the archaeological record Gillian R. Bentley -- Reconceiving technology : why feminine technologies matter Judith A. McGaw -- Technology, gender, and class : worlds of difference in Ur III Mesopotamia Rita P. Wright -- Exploring the relationship between gender and craft in complex societies : methodological and theoretical issues of gender and attribution Cathy Lynne Costin -- Figurines and the Aztec state : testing the effectiveness of ideological domination Elizabeth M. Brumfiel -- Construction of gender in classic Maya monuments Rosemary A. Joyce -- Gendered perspectives in the classroom Janet V. Romanowicz and Rita P. Wright -- Cultivating thinking/challenging authority : some experiments in feminist pedagogy in archaeology Margaret W. Conkey and Ruth E. Tringham -- Archaeological practice and gendered encounters with field data Joan M. Gero

Introduction: Why Comics and Archaeology? -- 'The Aliens from 2,000 B.C.!': Truth, Fiction and Pseudoarchaeology in American Comic Books -- Panels from the South Seas: Pacific Colonialism, Archaeology, and Pseudoscience in Francophone Bande Dessinée -- Making Sargon Great Again: Reuse and Reappropriation of Ancient Mesopotamian Imagery in Fan-Art of the Online Right -- Creating Comics for Public Engagement in Roman Aeclanum: Illustrating Ancient History -- "Mix, Mould, Fire!": Comic Art and Educational Outreach Inspired by Archaeology -- "They Do Things Differently There": Articulating the Unfamiliar Past in Community Heritage Comics.

The following article addresses notions of communication of archaeology and communication between archaeology and society in Poland—past and present. The examination of these two issues begins with a presentation of their historical background, rooted in a political, economic and sociological context. Through reaching back to the past of the Polish state some trends in presenting archaeology to the public can be easily traced. Particular ways of communicating archaeology to the general public are deeply connected with tradition and the wider social and political context, all of which have an undoubtful impact on the reception and perception of archaeology—as a science and as a profession. New technologies, through which communication between archaeologists and society takes place, are definitely used in Poland nowadays, however, the ways in which information is constructed should refer to the existing experience. What should be found is some common ground on which new technologies and traditional ideas of presentation of archaeology could work together and create the most efficient presentation.