What is the social role of images and architecture in a pre-modern society? How were they used to create adequate environments for specific profane and ritual activities? In which ways did they interact with each other? These and other crucial issues on the social significance of imagery and built structures in Neopalatial Crete were the subject of a workshop which took place on November 16th, 2009 at the University of Heidelberg. The papers presented in the workshop are collected in the present volume. They provide different approaches to this complex topic and are aimed at a better understanding of the formation, role, and perception of images and architecture in a very dynamic social landscape. The Cretan Neopalatial period saw a rapid increase in the number of palaces and 'villas', characterized by elaborate designs and idiosyncratic architectural patterns which were themselves in turn generated by a pressing desire for a distinctive social and performative environment.

Since the earliest era of archaeological discovery on Crete, vivid renderings of animals have been celebrated as defining elements of Minoan culture. Animals were crafted in a rich range of substances and media in the broad Minoan world, from tiny seal-stones to life-size frescoes. In this study, Emily Anderson fundamentally rethinks the status of these zoomorphic objects. Setting aside their traditional classification as 'representations' or signs, she recognizes them as distinctively real embodiments of animals in the world. These fabricated animals-engaged with in quiet tombs, bustling harbors, and monumental palatial halls-contributed in unique ways to Bronze Age Aegean sociocultural life and affected the status of animals within people's lived experience. Some gave new substance and contour to familiar biological species, while many exotic and fantastical beasts gained physical reality only in these fabricated embodiments. As real presences, the creatures that the Minoans crafted artfully toyed with expectation and realized new dimensions within and between animalian identities.

More than 100 years ago Sir Arthur Evans' spade made the first cut into the earth above the now well-known Palace at Knossos. His research saw the birth of a new discipline: Minoan Archaeology. The present volume aim to outline current trends and prospects of this scientific field.

Minoan Crete is rightly famous for its idiosyncratic architecture, as well as its palaces and towns such as Knossos, Malia, Gournia, and Palaikastro. Indeed, these are often described as the first urban settlements of Bronze Age Europe. However, we still know relatively little about the dynamics of these early urban centres. How did they work? What role did the palaces have in their towns, and the towns in their landscapes? It might seem that with such richly documented architectural remains these questions would have been answered long ago. Yet, analysis has mostly found itself confined to building materials and techniques, basic formal descriptions, and functional evaluations. Critical evaluation of these data as constituting a dynamic built environment has thus been slow in coming. This volume aims to provide a first step in this direction. It brings together international scholars whose research focuses on Minoan architecture and urbanism as well as on theory and methods in spatial analyses. By combining methodological contributions with detailed case studies across the different scales of buildings, settlements and regions, the volume proposes a new analytical and interpretive framework for addressing the complex dynamics of the Minoan built environment.

The art and iconography of the Minoan civilisation of Bronze Age Crete is rightly described as having a refreshing vitality with a fortunate combination of stylisation and spontaneity in which the artist is able to transform conventional imagery into a personal expression. The dynamism, torsion and naturalism evident in Minoan art stands in stark contrast to the hieratic rigidity of other ancient civilisations, and nowhere is this more apparent than in the iconography of the Minoan Epiphany, a set of mainly glyptic (rings, seals, and seal impression) images which appear to depict religious celebrants experiencing direct and seemingly ecstatic encounters with deities. This collection of essays explores this central aspect of Minoan religion, taking a strongly archaeological focus to allow the artefacts to speak for themselves, and moving from traditional ‘representational’ interpretations into ‘embodied’ perspectives in which the ecstatic capabilities of the human body throw new light on Aegean Bronze Age ritual practices. Such ideas challenge rather passive assumptions modern Western observers hold about the nature of religious feelings and experiences, in particular the depictions of altered states of consciousness in ancient art, and the visionary potential of dance gestures. Speculative asides on the potential for a Minoan origin for Classical Greek humanism, and hints in the imagery on ancient Cretan conceptions of the cosmos, are set against sound archaeological theories to explain this lively and dynamic corpus of images. Beautifully illustrated with images and sketches of the relevant artefacts, this wide-ranging volume will stimulate audiences with archaeological, prehistorical and spiritual interests, as well as historians of religion and art. ‘The Minoan Epiphany’ also represents an influential antecendent to the Visionary Humanist philosophy which forms the majority of Bruce’s current independent research interests.

Space and Time in Mediterranean Prehistory addresses these two concepts as interrelated, rather than as separate categories, and as a means for understanding past social relations at different scales. The need for this volume was realised through four main observations: the ever growing interest in space and spatiality across the social sciences; the comparative theoretical and methodological neglect of time and temporality; the lack in the existing literature of an explicit and balanced focus on both space and time; and the large amount of new information coming from prehistoric Mediterranean. It focuses on the active and interactive role of space and time in the production of any social environment, drawing equally on contemporary theory and on case-studies from Mediterranean prehistory. Space and Time in Mediterranean Prehistory seeks to break down the space-time continuum, often assumed rather than inferred, into space-time units and to uncover the varying and variable interrelations of space and time in prehistoric societies across the Mediterranean. The volume is a response to the dissatisfaction with traditional views of space and time in prehistory and revisits these concepts to develop a timely integrative conceptual and analytical framework for the study of space and time in archaeology.