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Series Editor's Foreword | vii | |
Prologue | ||
Prologue: Behind the Scenes: Producing the Performance | 3 | |
Act I | Concepts and Approaches | |
Scene 1 | Overture: An Invitation to the Archaeological Theater | 11 |
Act II | Senses, Spectacle, and Performance | |
Scene 2 | "The Indians Were Much Given to Their Taquis": Drumming and Generative Categories in Ancient Andean Funerary Processions | 47 |
Scene 3 | The Spectacle of Daily Performance at Catalhoyuk | 81 |
Scene 4 | Representational Aesthetics and Political Subjectivity: The Spectacular in Urartian Images of Performance | 103 |
Scene 5 | Impersonation, Dance, and the Problem of Spectacle among the Classic Maya | 135 |
Act III | Public Performance of Power and Community | |
Scene 6 | Dancing Gods: Ritual, Performance, and Political Organization in the Prehistoric Southwest | 159 |
Scene 7 | Politics and Theatricality in Mayan Society | 187 |
Scene 8 | Other Cuzcos: Replicated Theaters of Inka Power | 223 |
Scene 9 | Public Ceremonial Performance in Ancient Egypt: Exclusion and Integration | 261 |
Scene 10 | Visible and Vocal: Sovereigns of the Early Merina (Madagascar) State | 303 |
Index | 331 | |
About the Contributors | 337 |
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Add Archaeology Of Performance, 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 th, Archaeology Of Performance to the inventory that you are selling on WonderClubX
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Add Archaeology Of Performance, 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 th, Archaeology Of Performance to your collection on WonderClub |