The Cutting Edge Khoe San Rock Markings At The Gestoptefontein Driekuil Engraving Complex North West Province South Africa

This book addresses rock engravings on the wonderstone hills just outside Ottosdal, South Africa. Much of the rock art has been destroyed due to mining activities, with very few records and the largest remaining outcrop is still threatened. The study hopes to bring this situation to the attention of the public and the heritage authorities.

Rock art is one of the most visible and geographically widespread of cultural expressions, and it spans much of the period of our species' existence. Rock art also provides rare and often unique insights into the minds and visually creative capacities of our ancestors and how selected rock outcrops with distinctive images were used to construct symbolic landscapes and shape worldviews. Equally important, rock art is often central to the expression of and engagement with spiritual entities and forces, and in all these dimensions it signals the diversity of cultural practices, across place and through time. Over the past 150 years, archaeologists have studied ancient arts on rock surfaces, both out in the open and within caves and rock shelters, and social anthropologists have revealed how people today use art in their daily lives. The Oxford Handbook of the Archaeology and Anthropology of Rock Art showcases examples of such research from around the world and across a broad range of cultural contexts, giving a sense of the art's regional variability, its antiquity, and how it is meaningful to people in the recent past and today - including how we have ourselves tended to make sense of the art of others, replete with our own preconceptions. It reviews past, present, and emerging theoretical approaches to rock art investigation and presents new, cutting-edge methods of rock art analysis for the student and professional researcher alike.

To dress is a uniquely human experience, but practices and meanings of dress vary greatly among people. In a Western cultural tradition, the practice of dressing ‘properly’ has for centuries distinguished ‘civilised’ people from ‘savages’. Through travel literature and historical ethnographic descriptions of the Bushmen of southern Africa, such perceptions and prejudices have made their mark also on the modern research tradition. Because Bushmen were widely considered to be ‘nearly naked’ the study of dress has played a limited part in academic writings on Bushman culture. In Dress as Social Relations Vibeke Maria Viestad challenges this myth of the nearly naked Bushman and provides an interdisciplinary study of Bushman dress, as it is represented in the archives and material culture of historical Bushman communities. Maintaining a critical perspective, Viestad provides an interpretation of the significance of dress for historical Bushman people. Dress, she argues, formed an embodied practice of social relations between humans, animals and other powerful beings of the Bushman world; moreover, this complex and meaningful practice was intimately related to subsistence strategies and social identity. The historical collections under scrutiny present a wide variety of research material representing different aspects of the bodily practice of dress. Whereas the Bleek & Lloyd archive of oral myths and narratives has become renowned for its great research potential, the artefact collections of Dorothea Bleek and Louis Fourie are much less known and have not earlier been published in a richly illustrated and comprehensive way. Dress as Social Relations is aimed at scholars and students of archaeology, anthropology, material culture studies, dress studies, ethnographic studies, museology, culture historical studies and African studies, but will also be of interest to people of descendant communities.

Anthropomorphism could be described as a production of analogies generated by human cognition. It is present in the imaginary, mythologies, religions, and material culture of all ages. This book approaches anthropomorphism from the moment of anthropogenesis, tracing its presence in nature and material culture in prehistory and Antiquity.

This book explores a suite of spatially close San (Bushmen) rock painting sites in the Maclear District of South Africa’s Eastern Cape Province. As a suite, the sites are remarkable because, despite their proximity to each other, they share patterns of similarity and simultaneous difference.

Focusing on stunning paintings and engravings from around the world, 16 papers interrogate the driving forces behind global rock art research. Many of the motifs featured were created by indigenous hunter-gatherer groups; this book sheds new light on non-Western rituals and worldviews, many of which are threatened or on the point of extinction.

This book on doctoral writing offers a refreshingly new approach to help Ph.D. students and their supervisors overcome the host of writing challenges that can make—or break—the dissertation process. The book’s unique contribution to the field of doctoral writing is its style of reflection on ongoing, lived practice; this is more readable than a simple how-to book, making it a welcome resource to support doctoral writing. The experiences and practices of research writing are explored through bite-sized vignettes, stories, and actionable ‘teachable’ accounts.Doctoral Writing: Practices, Processes and Pleasures has its origins in a highly successful academic blog with an international following. Inspired by the popularity of the blog (which had more than 14,800 followers as of October 2019) and a desire to make our six years’ worth of posts more accessible, this book has been authored, reworked, and curated by the three editors of the blog and reconceived as a conveniently structured book.