This well illustrated, full-color, site-by-site survey of prehistory captures the popular interest, excitement, and visual splendor of archaeology as it provides insight into the research, interpretations, and theoretical themes in the field. The new edition maintains the authors' innovative solutions to two central problems of the course: first, the text continues to focus on about 80 sites, giving students less encyclopedic detail but essential coverage of the discoveries that have produced the major insights into prehistory; second, it continues to be organized into essays on sites and concepts, allowing professors complete flexibility in organizing their courses..

Explores the role, development, and nature of the atlas and discusses its impact on the presentation of the past.

A collection of classic and contemporary articles demonstrating the development of historical archaeology over the past 20 years, both in North America and throughout the world. Contains sections on recent perspectives, people and places, historic artifacts, interdisciplinary studies, landscape studies, and international historical archaeology. For use in historical archaeology classes. No index. Annotation copyrighted by Book News, Inc., Portland, OR

All cultures make, and break, images. Striking Images, Iconoclasms Past and Present explores how and why people have made and modified images and other cultural material from pre-history into the 21st century. With its impressive chronological sweep and disciplinary breadth, this is the first book about iconoclasm (the breaking of images) and the transformation of broader sets of signs that includes contributions from archaeologists, curators, and museum conservators as well as historians of art, literature and religious studies. The chapters examine themes critical to the study of iconoclasm: violence, punishment, memory, intentionality, ruins and relics and their survival. The conclusion shows how cross-disciplinary debate amongst the contributors informed Tate Britain?s 'Art under Attack' exhibition (2013) and addresses the challenges iconoclasm presents to the modern museum. By juxtaposing objects and places usually considered in isolation, Striking Images raises provocative questions about our understandings of cross-cultural differences and the value of representational objects from the broken swords of pre-historical bog graves to the Bamiyan Buddhas and contemporary art. Are any such objects ever ?finished?, or are they simply subject to constant transformation? In dialogue with each other, the essays consider this question and expand the field of iconoclasm - and cultural - studies.

Waiting for Daylight consists of photographs taken while working cattle from horseback on the King Ranches in South Texas, Brazil, Argentina, and Australia. The photographs capture an era when people lived out their lives on lands that were often inhospitable with great herds of red cattle and fine cow horses. These beautiful, historic images communicate a feeling of constant renewal combined with the sense of suspended time.