Archaeology of Performance: Theaters of Power, Community, and PoliticsTakeshi Inomata, Lawrence S. Coben Rowman Altamira, 2006 - 339 páginas Performances in the premodern communities shaped identities, created meanings, generated and maintained political control. But unlike other social scientists, archaeologists have not worked much with these concepts. Archaeology of Performance shows how the notions of theatricality and spectacle are as important economics and politics in understanding how ancient communities work. Without sacrificing conceptual rigor, the contributors draw on the wide-ranging literature on performance. Without sacrificing material evidence, they try to see how performance creates meaning and ideology. Drawing on evidence from societies large and small, Archaeology of Performance offers an important new ways of understanding ancient theaters of power. |
Contenido
Behind the Scenes Producing the Performance | 3 |
CONCEPTS AND APPROACHES | 9 |
Overture An Invitation to the Archaeological Theater | 11 |
SENSES SPECTACLE AND PERFORMANCE | 45 |
The Indians Were Much Given to Their Taquis Drumming and Generative Categories in Ancient Andean | 47 |
The Spectacle of Daily Performance at Çatalhöyük | 81 |
Representational Aesthetics and Political Subjectivity The Spectacular in Urartian Images of Performance | 103 |
Impersonation Dance and the Problem of Spectacle among the Classic Maya | 135 |
Dancing Gods Ritual Performance and Political Organization in the Prehistoric Southwest | 159 |
Politics and Theatricality in Mayan Society | 187 |
Other Cuzcos Replicated Theaters of Inka Power | 223 |
Public Ceremonial Performance in Ancient Egypt Exclusion and Integration | 261 |
Visible and Vocal Sovereigns of the Early Merina Madagascar State | 303 |
330 | |
About the Contributors | 337 |
PUBLIC PERFORMANCE OF POWER AND COMMUNITY | 157 |
Otras ediciones - Ver todas
Archaeology of Performance: Theaters of Power, Community, and Politics Takeshi Inomata,Lawrence S. Coben Vista previa limitada - 2006 |
Archaeology of Performance: Theaters of Power, Community, and Politics Takeshi Inomata,Lawrence S. Coben Vista de fragmentos - 2006 |
Términos y frases comunes
acts aesthetic Aguateca Amenhotep III American Ancient Maya Anthropology Archaeology architectural areas argued Arizona audience Bull Callet Cambridge Çatalhöyük central ceque ceramic ceremonies Chicago Chimú Classic Maya Coben Cobo complex construction contexts Copán cultural Cuzco dances deities depicted drumming Egypt elites evidence Excavations festival figures focus groups historical Hodder Hopi Houston huacas Huayna Huayna Capac human Ian Hodder ideology images of spectacle important Inca Incallajta Inka Inka empire Institute involved katsinas king kivas meaning Medinet Habu Mesoamerica monuments navel of Imerina Neolithic Noble desired Oxford Pachacuti participants platforms plaza political practice processions public events public performance Pueblo replication ritual performance role royal ruler sacred scenes sense social societies sovereign spaces specific spectators stage structures suggest symbolic Takeshi Inomata temple theater theatrical events theatrical performance Tikal tion Tomebamba Tozzer traditions University of Arizona University Press Urartian Urartu Yucatán