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x | |
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xiii | |
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xiv | |
General editor's preface |
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xv | |
Acknowledgements |
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xvii | |
Introduction: the cultural life of images |
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1 | (10) |
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1 | (4) |
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The situation of production |
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5 | (1) |
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5 | (2) |
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7 | (1) |
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8 | (3) |
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1 Art, landscape, and the past: an artist's view |
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11 | (11) |
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21 | (1) |
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2 Drawing inferences: visual reconstructions in theory and practice |
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22 | (27) |
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22 | (1) |
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`But is it Art?' Aims, aesthetics, and mechanics |
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23 | (1) |
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Participants and interactions |
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24 | (1) |
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24 | (1) |
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25 | (1) |
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Aims, processes, and limitations |
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26 | (1) |
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Reconstruction as an archaeological research tool |
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27 | (6) |
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Reconstructing the Roman saddle |
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27 | (2) |
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Reconstructing complex timber buildings. Cowdery's Down |
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29 | (4) |
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Reconstructing social relations |
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33 | (1) |
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Reconstruction as a medium of communication with the public(s) |
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34 | (1) |
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Iron Age nobles. A reconstruction for the general public |
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35 | (4) |
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39 | (1) |
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40 | (6) |
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Building on experience. Vices into virtues |
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46 | (1) |
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47 | (1) |
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47 | (2) |
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3 Things, and things like them |
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49 | (13) |
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The place of pictures in perceptual theory |
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50 | (12) |
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The window theory of pictures |
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50 | (1) |
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The information theory of pictures |
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51 | (3) |
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The evidence for resemblance theory |
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54 | (2) |
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Doing things with pictures |
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56 | (1) |
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Children's (mis)understandings of pictures |
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56 | (2) |
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The social life of pictures |
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58 | (1) |
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59 | (3) |
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4 To see is to have craft traditions in British field archaeology |
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62 | (11) |
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62 | (2) |
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Craft traditions in field archaeology |
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64 | (4) |
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68 | (2) |
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Conclusion: To see is to have seen |
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70 | (1) |
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71 | (1) |
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71 | (2) |
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5 Photography and archaeology |
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73 | (35) |
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73 | (1) |
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The photograph as record and witness |
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74 | (2) |
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76 | (2) |
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78 | (1) |
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78 | (2) |
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The rhetoric of the image |
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80 | (1) |
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The rhetoric of discourse |
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81 | (2) |
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83 | (1) |
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Photowork and the working of illustrative discourse |
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83 | (2) |
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Further workings of a photograph |
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85 | (1) |
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Temporality of the photograph |
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86 | (1) |
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86 | (3) |
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89 | (2) |
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91 | (1) |
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92 | (7) |
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Experience and the photograph |
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99 | (1) |
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Varieties of experience: towards embodiment |
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100 | (1) |
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Visualization as a research tool and archaeologies of the ineffable |
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100 | (1) |
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The potential of photography |
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101 | (1) |
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A radical imaging/writing |
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102 | (1) |
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102 | (2) |
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104 | (4) |
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6 Representation and reality in private tombs of the late eighteenth dynasty, Egypt: an approach to the study of the shape of meaning |
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108 | (22) |
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Representation and reality |
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108 | (6) |
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114 | (2) |
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The social landscape of the representations |
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116 | (1) |
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Visibility and compositional devices |
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117 | (4) |
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121 | (1) |
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The analysis of height relations |
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122 | (3) |
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125 | (2) |
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127 | (3) |
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7 Some Greek images of others |
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130 | (29) |
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130 | (2) |
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132 | (1) |
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133 | (4) |
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137 | (17) |
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137 | (2) |
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139 | (3) |
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142 | (2) |
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The Africans (Ethiopians and Egyptians) |
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144 | (10) |
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154 | (1) |
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155 | (4) |
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8 The art and archaeology of Custer's last battle |
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159 | (25) |
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159 | (1) |
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160 | (1) |
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161 | (2) |
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163 | (8) |
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Indian drawings, archaeology, and combat behaviour |
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171 | (8) |
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179 | (2) |
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181 | (1) |
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182 | (1) |
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182 | (2) |
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9 Revolutionary images: the iconic vocabulary for representing human antiquity |
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184 | (29) |
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184 | (29) |
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Archaeology and visual representation |
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185 | (1) |
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The visual reconstruction |
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186 | (2) |
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The icons of human antiquity |
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188 | (2) |
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Three windows onto the past |
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190 | (1) |
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191 | (3) |
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The archaeological tradition |
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194 | (10) |
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204 | (1) |
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Locating the origins of archaeology's iconic vocabulary |
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205 | (1) |
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Ancestors and cultural origins |
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206 | (1) |
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Apes, savages, and evolution |
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207 | (1) |
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208 | (1) |
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Authenticity and the demise of the Romantic vision of the past |
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209 | (1) |
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210 | (1) |
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210 | (1) |
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211 | (2) |
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10 The power of the picture: the image of the ancient Gaul |
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213 | (17) |
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213 | (17) |
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Representation of the barbarian Gauls |
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214 | (2) |
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Guizot's Histoire and its images |
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216 | (7) |
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The projection of the image |
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223 | (3) |
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226 | (3) |
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229 | (1) |
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11 Focusing on the past: visual and textual images of Aboriginal Australia in museums |
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230 | (19) |
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230 | (1) |
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231 | (2) |
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Museum texts and displays, past and present |
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233 | (7) |
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An Aboriginal-designed museum exhibition |
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240 | (3) |
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Corporate symbolism: Aborigines represent themselves |
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243 | (2) |
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245 | (1) |
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246 | (1) |
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246 | (3) |
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12 The painter and prehistoric people: a `hypothesis on canvas' |
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249 | (14) |
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262 | (1) |
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262 | (1) |
Index |
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263 | |