The Art And Archaeology Of Human Engagements With Birds Of Prey

Of all avian groups, birds of prey in particular have long been a prominent subject of fascination in many human societies. This book demonstrates that the art and materiality of human engagements with raptors has been significant through deep time and across the world, from earliest prehistory to Indigenous thinking in the present day. Drawing on a wide range of global case studies and a plurality of complementary perspectives, it explores the varied and fluid dynamics between humans and birds of prey as evidenced in this diverse art-historical and archaeological record. From their depictions as powerful beings in visual art and their important roles in Indigenous mythologies, to the significance of their body parts as active agents in religious rituals, the intentional deposition of their faunal remains and the display of their preserved bodies in museums, there is no doubt that birds of prey have been figures of great import for the shaping of human society and culture. However, several of the chapters in this volume are particularly concerned with looking beyond the culture–nature dichotomy and human-centred accounts to explore perspectival and other post-humanist thinking on human–raptor ontologies and epistemologies. The contributors recognize that human–raptor relationships are not driven exclusively by human intentionality, and that when these species meet they relate-to and become-with one another. This 'raptor-with-human'-focused approach allows for a productive re-framing of questions about human–raptor interstices, enables fresh thinking about established evidence and offers signposts for present and future intra-actions with birds of prey.

Of all avian groups, birds of prey in particular have long been a prominent subject of fascination in many human societies. This book demonstrates that the art and materiality of human engagements with raptors has been significant through deep time and across the world, from earliest prehistory to Indigenous thinking in the present day. Drawing on a wide range of global case studies and a plurality of complementary perspectives, it explores the varied and fluid dynamics between humans and birds of prey as evidenced in this diverse art-historical and archaeological record. From their depictions as powerful beings in visual art and their important roles in Indigenous mythologies, to the significance of their body parts as active agents in religious rituals, the intentional deposition of their faunal remains and the display of their preserved bodies in museums, there is no doubt that birds of prey have been figures of great import for the shaping of human society and culture. However, several of the chapters in this volume are particularly concerned with looking beyond the culture–nature dichotomy and human-centred accounts to explore perspectival and other post-humanist thinking on human–raptor ontologies and epistemologies. The contributors recognize that human–raptor relationships are not driven exclusively by human intentionality, and that when these species meet they relate-to and become-with one another. This 'raptor-with-human'-focused approach allows for a productive re-framing of questions about human–raptor interstices, enables fresh thinking about established evidence and offers signposts for present and future intra-actions with birds of prey.

The Archaeology of Wild Birds in Britain and Ireland tells the story of human engagement with birds from the end of the last Ice Age to about AD 1650. It is based on archaeological bird remains integrated with ethnography and the history of birds and avian biology. In addition to their food value, the book examines birds in ritual activities and their capture and role in falconry and as companion animals. It is an essential guide for archaeologists and zooarchaeologists and will interest historians and naturalists concerned with the history and former distribution of birds.

A remarkable array of people have been called shamans, while the phenomena identified as shamanism continues to proliferate. This second edition of the Historical Dictionary of Shamanism contains with examples from antiquity up to today, and from Siberia (where the term “shaman” originated) to Amazonia, South Africa, Chicago and many other places. Many claims about shamans and shamanism are contentious and all are worthy of discussion. In the most widespread understandings, terms seem to refer particularly to people who alter states of consciousness or enter trances in order to seek knowledge and help from powerful other-than-human persons, perhaps “spirits”. But this says only a little about the artists, community leaders, spiritual healers or hucksters, travelers in alternative realities and so on to which the label “shaman” has been applied. This second edition contains a chronology, an introduction, and extensive bibliography. The dictionary contains over 500 cross-referenced dictionary entries on individuals, groups, practices and cultures that have been called “shamanic”. This book is an excellent access point for students, researchers, and anyone wanting to know more about Shamanism.

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.

In its analysis of the archaeologies and histories of the northern fringe of Europe, this book provides a focus on animistic–shamanistic cosmologies and the associated human–environment relations from the Neolithic to modern times. The North has fascinated Europeans throughout history, as an enchanted world of natural and supernatural marvels: a land of light and dark, of northern lights and the midnight sun, of witches and magic and of riches ranging from amber to oil. Northern lands conflate fantasies and realities. Rich archaeological, historical, ethnographic and folkloric materials combine in this book with cutting-edge theoretical perspectives drawn from relational ontologies and epistemologies, producing a fresh approach to the prehistory and history of a region that is pivotal to understanding Europe-wide processes, such as Neolithization and modernization. This book examines the mythical and actual northern worlds, with northern relational modes of perceiving and engaging with the world on the one hand and the ‘place’ of the North in European culture on the other. This book is an indispensable read for scholars of archaeology, anthropology, cultural studies and folklore in northern Europe, as well as researchers interested in how the North is intertwined with developments in the broader European and Eurasian world. It provides a deep-time understanding of globally topical issues and conflicting interests, as expressed by debates and controversies around Arctic resources, nature preservation and indigenous rights.

Shows how archaeologists gain knowledge about past ontologies, and explores the role that birds played in Bronze Age economy, ritual and religion.

This is the first book to provide a systematic overview of social zooarchaeology, which takes a holistic view of human-animal relations in the past. Until recently, archaeological analysis of faunal evidence has primarily focused on the role of animals in the human diet and subsistence economy. This book, however, argues that animals have always played many more roles in human societies: as wealth, companions, spirit helpers, sacrificial victims, totems, centerpieces of feasts, objects of taboos, and more. These social factors are as significant as taphonomic processes in shaping animal bone assemblages. Nerissa Russell uses evidence derived from not only zooarchaeology, but also ethnography, history and classical studies, to suggest the range of human-animal relationships and to examine their importance in human society. Through exploring the significance of animals to ancient humans, this book provides a richer picture of past societies.