By Richard G. Lesure
This booklet examines old collectible figurines from a number of global components to deal with routine demanding situations within the interpretation of prehistoric paintings. occasionally collectible figurines from one context are seemed to resemble these from one other. Richard G. Lesure asks even if such resemblances play a job in our interpretations. Early interpreters seized at the concept that collectible figurines have been recurringly girl and developed the fanciful fantasy of a primordial Neolithic Goddess. modern perform as a substitute rejects interpretive leaps throughout contexts. Dr. Lesure bargains a center direction: a brand new framework for assessing the relevance of specific comparisons. He develops the argument in case experiences that contemplate collectible figurines from Paleolithic Europe, the Neolithic close to East, and Formative Mesoamerica.Review"Recommended." -Choice ebook DescriptionThis publication examines historic collectible figurines from a number of global components to deal with ordinary demanding situations within the interpretation of prehistoric paintings. may still comparability among contexts play a task in interpretation? Early interpreters seized fancifully on resemblances among collectible figurines from diversified areas, yet modern perform rejects such interpretive leaps. Richard G. Lesure argues for the need of comparability and gives a brand new analytical framework. [C:\Users\Microsoft\Documents\Calibre Library]
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Additional resources for Interpreting Ancient Figurines: Context, Comparison, and Prehistoric Art
12 on Sat Oct 06 07:13:40 BST 2012. 003 Cambridge Books Online © Cambridge University Press, 2012 Interpreting Ancient Figurines and nude. Sexually female based on breasts, belly, and hip form, they depict young women of reproductive age. Associated themes include lack of arms and a visual emphasis on the head involving diverse hairstyles and naturalistic attention to faces (see Figure 7). The second set of representations (17 percent of the assemblage) consists of obese, anthropomorphic figures.
33 Marcus’s explanation for why figurines from Formative Oaxaca (Mexico) are female is a by-for-and-about-women argument, even though she emphasizes the idea that figurines represented ancestors: According to Marcus, male ancestors are rarely depicted because women made the figurines. 34 These observations clarify the end product that might result from a successful effort to identify a worldwide explanation for femaleness among prehistoric figurines. A common explanation would account for only a small part of what there is to be explained about any particular collection.
Gimbutas was a creative synthesizer who assembled staggering quantities of data and yet saw through the details to a bigger picture beyond. 20 Gimbutas’s synthesis was something of a mirror image of androcentric figurine scholarship. She replaced male bias with female bias, envisioning a peaceful, egalitarian, woman-centered epoch in the prehistory of the Eastern Mediterranean and Southeastern Europe, brought to an end by invasions of warlike, patriarchal hordes from the Russian steppes. This work struck a chord in feminist thought far outside archaeology.