Andrew Rogerson is one of the most important and influential archaeologists currently working in East Anglia. This collection will be essential reading for those interested in the history and archaeology of Norfolk and Suffolk, in the interpretation of artefacts within their landscape contexts, and in the material culture of the Middle Ages.

A companion to The Archaeology of Rock-Art (Cambridge 1998), this new collection edited by Christopher Chippindale and George Nash addresses the most important component around the rock-art panel - its landscape. The Figured Landscapes of Rock-Art draws together the work of many well-known scholars from key regions of the world for rock-art and for rock-art research. It provides a unique, broad and varied insight into the arrangement, location, and structure of rock-art and its place within the landscapes of ancient worlds as ancient people experienced them. Packed with illustrations, as befits a book about images, The Figured Landscapes of Rock-Art offers a visual as well as a literary key to the understanding of this most lovely and alluring of archaeological traces.

Humphry Repton¿s Red Books have long been the subject of scholarly interest for their unique contribution to British landscape discourse around 1800. Lavishly illustrated with Repton¿s own watercolours, the notorious Red Book manuscripts were used to suggest improvements to family estates all over England, Scotland and Wales. Through detailed analysis of Repton¿s working practices, Andr¿ogger argues that the landscape gardener¿s main artistic achievement is in the text-and-image concept of his Red Books, rather than in his grounds as finally executed. He presents the Red Books as artefacts in their own right, examining their creative potential as an entirely new genre of landscape appraisal. Assembling a comprehensive and descriptive catalogue of 123 original volumes, Landscapes of Taste: The Art of Humphry Repton¿s Red Books guides the reader through a fascinating part of the rich texture and legacy of Georgian landscape aesthetics.

This volume contains thirty-five papers from a 2010 conference on landscape archaeology focusing on the definition of landscape as used by processual archaeologists, earth scientists, and most historical geographers, in contrast to the definition favored by postprocessual archaeologists, cultural geographers, and anthropologists. This tension provides a rich foundation for discussion, and the papers in this collection cover a variety of topics including: how do landscapes change; how to improve temporal, chronological, and transformational frameworks; how to link lowlands with mountainous area.

The Ritidian Site in Guam reveals the full scope of traditional cultural heritage in the Mariana Islands since 1500 B.C. The material records here have been incorporated into a cohesive narrative in chronological order to learn about the profound heritage of this special site and its larger research contributions.

Symbols and Artifacts: Views of the Corporate Landscape (de Gruyter Studies in Organization).

Rock-art - the ancient images which still scatter the rocky landscapes of Europe - is a singular kind of archaeological evidence. Fixed in place, it does not move about as artefacts as trade objects do. Enigmatic in its meaning, it uniquely offers a direct record of how prehistoric Europeans saw and envisioned their own worlds. European Landscapes of Rock-Art provides a number of case studies, covering arange of European locations including Ireland, Italy, Scandinavia, Scotland and Spain, which collectively address the chronology and geography of rock-art as well as providing an essential series of methodologies for future debate. Each author provides a synthesis that focuses on landscape as an essential part of rock-art construction. From the paintings and carved images of prehistoric Scandinavia to Second World War grafitti on the German Reichstag, this volume looks beyond the art to the society that made it. The papers in this volume also challenge the traditional views of how rock-art is recorded. Throughout, there is an emphasis on informal and informed methodologies. The authors skilfully discuss subjectivity and its relationship with landscape since personal experience, from prehistoric times to the present day, plays an essential role in the interpretation of art itself. The emphasis is on location, on the intentionality of the artist, and on the needs of the audience. This exciting volume is a crucial addition to rock-art literature and landscape archaeology. It will provide new material for a lively and greatly debated subject and as such will be essential for academics, non-academics and commentators of rock art in general.