By Gavin Lucas
This paintings takes as its place to begin the function of fieldwork and the way this has replaced during the last one hundred fifty years. the writer argues opposed to revolutionary debts of fieldwork and in its place areas it in its broader highbrow context to significantly study the connection among theoretical paradigms and daily archaeological practice.In delivering a much-needed old and important overview of present perform in archaeology, this ebook opens up an issue of dialogue which impacts all archaeologists, no matter what their specific pursuits.
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Additional resources for Critical approaches to fieldwork: contemporary and historical archaeological practice
Conclusion In following the question posed by Linda Patrik, as to whether of not there is an archaeological record, I have argued that an alternative view of our evidence is possible. Indeed I have been concerned to establish that the concept of a record is inadequate to meet the challenge of an archaeology concerned with the history of knowledgeable human agency. In this case the record appears as a text, which I contend can only be translated in our own terms. However self-critical such 'translations' may be, they can never confront the real conditions of authorship by which the text was constructed.
BARRETT To consider more fully this as an archaeological approach I will take, as a single example, the archaeological analysis of gender. This has raised profound methodological problems for contemporary archaeology. The archaeology of gender The feminist critique of archaeology has been one of the signs of an emergent selfcritical discipline. As Conkey and Spector state, histories of'man and mankind are not general, but exclusive' (Conkey and Spector 1984: 2). But archaeology has long worked as if gender were not an issue of history, and where the archaeology of man has rendered gender distinctions invisible.
Because nothing has any depth, because nothing has any attachment to place or tradition, everything is simply a commodity that circulates in the global market. But on the other hand, we crave distinctiveness and authenticity, 16 INTRODUCTION and these are provided for us in the form of Viking Yorvik, Catherine Cookson Country and the Millennium Dome. This brings us back to the relationship between the past and the present, and the kind of archaeology that can exist in a postmodern world. Clearly, if our sense of space and time is being diminished, and if images and experiences are increasingly part of a global economy, we have to be very concerned about the development of the heritage industry.
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