Bibliographischer hinweis zu s. 146, anm. 74

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The Hidden Meaning of Forms: Methods of Recording Paleolithic Parietal Art

There are many restrictions placed on researchers studying Paleolithic Cave art due to the constraints of conservation that limit direct contact with the original works. This paper discusses how recent advances in technology have revolutionized the study and interpretation of Paleolithic cave art. The interpretation of Paleolithic symbolic systems is a complex process and hypotheses must be applied to cave art with the greatest of precision. A detailed analysis of the painted or engraved surfaces leads to a greater understanding of both the techniques employed and the actual sequence in which parietal compositions were executed. By unlocking the creative process followed by Upper Paleolithic artists we are able to glimpse the artist’s motivations and to understand a portion of the art’s hidden meaning.

Honoring Ambiguity/Problematizing Certitude

In this paper I argue that the practice of archaeology over-emphasizes and over-rewards unambiguous certainty in our interpretations, even though our conclusions are usually drawn from necessarily partial, underdetermined and complex evidence. I argue that full or partial erasure of ambiguity from our data and from our interpretive assertions does not serve the long-term interests of the discipline; that a feminist practice aimed at more nuanced understandings of the past and open to more subtle, multivalenced notions of reality, must accept ambiguity as a central feature of archaeological interpretation. After I review familiar strategies that are used to obscure troubling areas of uncertainty in archaeology, I urge feminist practice to resist employing these “mechanisms of closure” in our work. It is only by openly recognizing and preserving the ambiguity that resides in messy data arrangements today that we stand any hope of fuller and richer understandings in the future.

Building Power in Rural Hinterlands: An Ethnoarchaeological Study of Vernacular Architecture in Tigray,Ethiopia

In Tigray, Ethiopia highland farmers and noblemen used a common vernacular architecture to build places of political authority and power during the last century of Ethiopia's feudal economy. This study contributes to the perspective that domestic houses are active political locales integrated into the larger political landscape. In addition, it is argued that vernacular architectural style generates hierarchical power in part by manipulating building strategies usually attributed to monumental construction. The study concludes that vernacular architecture is actively engaged in rendering a political aesthetic that reproduces state authority in rural hinterlands.