From a paleolithic art to pleistocene visual cultures (introduction to two special issues on 'advances in the study of pleistocene imagery and symbol use')

Journal of Archaeological Method and Theory

Volumn 13, Issue 4, 2006, Pages 239-249

  Nowell, April ^a  

^a UNIVERSITY OF VICTORIA   (Canada)

Author keywords

Cave art; Figurines; Personal adornment; Upper paleolithic; Visual culture

Indexed keywords

EID: 33845475431     PISSN: 10725369     EISSN: 15737764     Source Type: Journal    
DOI: 10.1007/s10816-006-9020-2     Document Type: Review

References (75)

1. Adovasio, J. M., Soffer, O., and Kilma, B. (1996). Paleolithic fiber technology: data from Pavlov I, ca. 26,000 BP. Antiquity 70: 526-34.
2. Allemand, L., and Bahn, P. (2005). The best way to protect rock art is to leave it alone. Nature 433: 800.
3. Bahn, P. (2005/2006). A lot of bull? Pablo Picasso and ice age art. Homenage a Jesús Altuna. Munibe 57: 197-205.
4. Bahn, P. G., and Vertut, J. (1997). Journey Through the Ice Age, University of California Press, Berkeley.
5. Bahn, P. G., Pettitt, P., and Ripoll, S. (2003). Discovery of Paleolithic cave art in Britain. Antiquity 77: 227-31.
6. Bar-Yosef, O. (2002). The Upper Paleolithic revolution. Annual Review of Anthropology 31:363-393.
7. Brumm, A., and Moore, M. (2004). Symbolic revolutions and the Australian Archaeological record. Cambridge Archaeological Journal 14(1): 157-175.
8. Castellani, F. (2005). Historical monuments: the film crew. Nature 433: 100-101.
9. Chalmin, E., Menu, M., and Vignaud, C. (2003). Analysis of rock art painting and technology of Paleolithic painters. Measurement Science and Technology 14: 1590-1597.
10. Chase, P.G., and Nowell, A. (1998). Taphonomy of a suggested Middle Paleolithic bone flute from Slovenia. Current Anthropology 39(4): 549-553.
11. Chazine, J.-M. (2005). Rock art, burials, and habitations. Asian Perspectives 44(1): 219-230.
12. Chorruchaga, J. A. L., and Monforte, P. F. (2003). The new museum of Altamira: finding solutions to tourism pressure. Paper presented at the World Archaeological Congress, http://museodealtamira.mcu.es/pdf/the new meuseum of altamira.pdf
13. Clogg, P., and Diaz-Andreu, M. (2000). Digital image processing and the recording of rock ait. Journal of Archaeological Science 27(9): 837-843.
14. Clottes, J. (2001). La Grotte Chauvet: I'art des origins, Seuil, Paris.
15. Clottes, J. (2003). Return to Chauvet Cave, Thames and Hudson, New York.
16. Clottes, J. (2005). Foreword. In Heyd, T., and Clegg, J. (eds.), Aesthetics and Rock Art, Ashgate, Hampshire, pp. 19-26.
17. Clottes, J., Menu, M., and Walter, P. (1990). New light on the Niaux paintings. Rock Art Research 7(1): 21-26.
18. Clottes, J., Courtin, J., and Vanrell, L. (2005). Cosquer Redécouvert, Le Seuil, Paris.
19. Conkey, M. (1983). On the origins of Paleolithic ait: a review and some critical thoughts. In Trinkaus, E., (ed.), The Mousterian Legacy: Human Biocultural Change in the Upper Pleistocene, British Archaeological Reports, International Series 164, BAR, Oxford, pp. 210-227.
20. Conkey, M. (1989). The structural analysis of Paleolithic art. In Lamberg-Karlovsky, C. C. (ed.), Archaeological Thought in America, Cambridge University Press, Cambridge, pp. 135-54.
21. Conkey, M. (1995). Making things meaningful: approaches to the interpretation of the Ice Age imagery of Europe. In Lavin, I. (ed.), Meaning in the Visual Arts: Essays in the Honor of E. Panofsky, Princeton University Press, Princeton, pp. 62-77.
22. Conkey, M. (1997). Beyond Art and Between the Caves: Thinking About Context in the Interpretive Process. In Conkey, M., Soffer, O., Stratmann, D., and Jablonski, N. G. (eds.). Beyond Art: Pleistocene Image and Symbol, Memoirs of the California Academy of Sciences 23, San Francisco, pp. 343-368.
23. Conkey, M. (2004). Making Meanings: Paleolithic Art and Archaeological Interpretation. Lansdowne Lecture series, University of Victoria, Victoria, BC, October 19, 2004.
24. Conkey, M., Softer, O., Stratmann, D., and Jablonski, N. G. (eds.) (1997). Beyond Art: Pleistocene Image and Symbol, Memoires of the California Academy of Sciences, 23, San Francisco.
25. Conkey, M., and Tringham, R. (1998). Rethinking figurines: a critical view from the archaeology of Gumbatas, "the Goddess" and popular culture. In Goodison, L., Morris, C. (eds.), The Ancient Goddesses: Myths and the Evidence, University of Wisconsin Press, Madison, pp. 22-45.
26. Davidson, I. (1989). Freedom of information: aspects of art and society in western Europe during the last Ice Age. In Morphy, H., (ed.), Animals into Art, Unwin Hyman, London, pp. 440-456.
27. Davidson, I. (1997). The power of pictures. In Conkey, M., Softer, O., Stratmann, D., and Jablonski, N. G. (eds.). Beyond Art: Pleistocene Image and Symbol, Memoirs of the California Academy of Sciences 23, San Francisco, pp. 125-159
28. Davidson, I. (2005/2006). The painting and the tree: symbolism in the Upper Paleolithic. A tribute to a great Basque scholar. Homenage a Jesus Altuna. Munibe 57: 197-205.
29. Davidson, I., and, Noble. W. (1992). Why the first colonization of the Australian region is the earliest evidence of modern human behavior.
30. De Beaune, S. (1987). Lampes et Godets au Paléolithique, édition du CNRS, XXIIIème suppl. à Gallia Préhistoire, Paris.
31. d'Errico, F. (2001). The archaeology of the oldest artificial memory systems. In Nowell, A. (ed.), In the Mind's Eye: Multidisciplinary Approaches to the Evolution of Human Cognition, International Monographs in Prehistory, Ann Arbor, pp. 33-49.
32. d'Errico, F., and Nowell, A. (2000). A new look at the Berekhat Ram Figurine-implications for the origins of symbolism. Cambridge Archaeological Journal 10(1): 123-167.
33. d'Errico, F., Henshilwood, C., Lawson, G., Vanhaeren, M., Tillier, A-M., Soressi, M., Bresson, F., Maureille, B., Nowell, A., Lakarra, J., Backwell, L., and Julien M.,(2003). The Origin of Language and Symbolism." Journal of World Prehistory 17(1): 1-70.
34. Eastham, M., and Eastham, A. (1991). Paleolithic parietal art and its topographic context. Proceedings of the Prehistoric Society 57: 115-128.
35. Flood, J. (2004). Linkage between rock ait and landscape in Aboriginal Australia. In Chippendale, C., and Nash, G. (eds.), The Figured Landscape of Rock Art: Looking at Pictures in Place, Cambridge University Press, Cambridge.
36. Gamble, C. (1982). Interaction and alliance in Paleolithic society. Man 17: 92-107.
37. Halverson, J. (1987). Art for art's sake in the Paleolithic. Current Anthropology 28: 63-89.
38. Heyd, T. (2003). Rock art aesthetics and cultural appropriation. Journal of Aesthetics and Art Criticism 61:39-46.
39. Heyd, T., and Clegg, J. (2005). Aesthetics and Rock Art, Ashgate, Hampshire.
40. Hodgeson, D. (2006). Altered states of consciousness and paleoart: an alternative neurovisual explanation. Cambridge Archaeological Journal 16 (1): 27-37.
41. Jochim, M. (1983). Paleolithic cave art in ecological perspective. In Bailey, G., (ed.), Hunter-Gatherer Economy in Prehistory: A European Perspective, Cambridge University Press, Cambridge, pp. 212-219.
42. Jones, N. (2001). Ancient cave etchings reveal new figures. New Scientist.
43. Joyce, R. A. (2005). Archaeology of the Body. Annual Review of Anthropology 34: 139-158.
44. Lamarque (2005). Paleolithic Cave Painting: A Test Case for Transcultural Aesthetics. In Heyd, T., and Clegg, J. (eds.), Aesthetics and Rock Art, Ashgate.
45. Laming-Emperaire A. (1962). La Signification de l'Art Rupestre Paléolithique, Picard, Paris.
46. Leone, Mark. (1982). Some opinions about recovering mind. American Antiquity 47 (4): 742-760.
47. Leroi-Gourhan, A. (1958). Le symbolisme des grands signes dans l'art pariétal paléolithique. Bulletin de la Societé Préhistorique Française 55: 384-398.
48. Lewis-Williams, D. (1981). Believing and Seeing: Symbolic Meanings in Southern San Rock Paintings, Academic Press, London.
49. Lewis-Williams, D. (1990). Documentation, analysis and interpretation: Dilemmas in rock art research. A review of The Rock Paintings of the Upper Brandberg, Part I: Amis Gorge, by H. Pager (1989). South African Archaeological Bulletin 45: 126-136.
50. Lewis-Williams, D. (2002). The Mind in the Cave: Consciousness and the Origins of Art, Thames and Hudson, New York.
51. Lewis-Williams, D., and Dowson, T. (1988). The signs of all times: entopic phenomena in Upper Paleolithic art. Current Anthropology 29: 201-245.
52. Lewis-Williams, D., and Dowson, T. (1999). Images of Power: Understanding South African Rock Art, 2nd edition, Struik, Cape Town.
53. Lorblanchet, M. (1991). Spitting images. Replicating the spotted horses of Pech Merle. Archaeology 44(6): 24-31.
54. Lorblanchet, M. (2002). La Naissance de L'Art, Actes-Sud, Arles.
55. Mack, A. (2004). One landscape, many experiences: differing Perspectives of the Temple Districts of Vijayanagara. Journal of Archaeological Method and Theory 11(1): 59-86.
56. Marshack, A. (1990). Early hominid symbol and the evolution of human capacity. In Mellars, P., and Stringer, C. (eds.), The Human Revolution: Behavioral and Biological Perspectives on the Origins of Modern Humans, vol. 2, Princeton University Press, Princeton, pp. 457-498.
57. McBrearty, S., and Brooks, A. (2000). The revolution that wasn't: a new interpretation of the origins of modern human behavior. Journal of Human Evolution 38: 453-563.
58. McDermott, L. (1996). Self representation in Upper Paleolithic female figurines. Current Anthropology 37(2): 227-275.
59. Mithen, S. (1991). Ecological interpretations of Paleolithic art. Proceedings of the Prehistoric Society 57(1):103-114.
60. Moro Abadia, O. M. (2006). Arts, crafts, and Paleolithic art. Journal of Social Archaeology 6(1): 119-141.
61. Nowell, A. (in prep.) Exploring Paleolithic visual cultures.
62. Oliva, M. (2000). Some thoughts on Pavlovian adaptations and their alternatives. In Roebroeks, W., Mussi, M., Svoboda, J., and Fennema, K. (eds.), Hunters of the Golden Age: The Mid Upper Paleolithic of Eurasia 30,000-20,000 BP, University of Leiden, Leiden, pp. 219-229.
63. Plagnes.V., Causse, C., Fontugne, M., Valladas, H., Chazine, J.-M., and Page, L.-H. (2003). Cross dating (Th/U-14C) of calcite covering prehistoric paintings in Borneo. Quaternary Research 60(2): 172-179.
64. Ripoll, S., Muñoz, F., Bhan, P., and Pettitt, P. (2004). Paleolithic cave engravings at Cresswell Cave, England. Proceedings of the Prehistoric Society 70: 193-206.
65. Russell, P. (1992). Men only? The myths about European Paleolithic artists. In Willows, D. W. (ed.), The Archaeology of Gender.Proceedings of the 22nd annual Chacmool conference. The Archaeological Association of the University of Calgary, Calgary Canada.
66. Scarre, C., and Lawson, G. (2006). (eds.). Arcliaeoacoustics, McDonald Institute Monographs, Cambrdige.
67. Softer, O., and Conkey, M. (1997). Studying ancient visual cultures. In Conkey, M., Soffer, O., Stratmann, D., and Jablonski, N. G. (eds.), Beyond Art: Pleistocene Image and Symbol, Memoirs of the California Academy of Sciences 23, San Francisco, pp. 1-16.
68. Softer, O., Adovasio, J. M., and Hyland, D. C. (2000). The Venus Figurines: textiles, basketry, gender and status in the Upper Paleolithic. Current Anthropology 41(4): 511-37.
69. Spivey, N. (2005). How Art Made the World, BBC Books, London.
70. Trigger, B. (1989). A History of Archaeological Thought, Cambridge University Press, Cambridge.
71. Vanhaeren, M. (2005). Speaking with beads: the evolutionary significance of personal oraments. In d'Errico, F. and Backwell, L. (eds.), From Tools to Symbols. From Early Hominids to Modern Humans. Witwatersrand University Press, Witwatersrand.
72. Vanhaeren, M., d'Errico, F., Stronger, C., James, S. L., Todd, J. A., and Mienis, H. K. (2006). Middle Paleolithic shell beads in Israel and Algeria. Science 325: 1785-1788.
73. Waller, S. (2006). Intentionality of Rock-art Placement Deduced from Acoustical Measurements and Echo Myths 31. In Scarre, C. and Lawson, G. (eds.), Archaeoacoustics, MacDonald Institute for Archaeological Research, Cambridge, pp. 31-40.
74. White, R. (1992). Beyond art - toward an understanding of the origins of material representation in Europe. Annual Review of Anthropology 21: 537-564.
75. White, R. (2003). Prehistoric Art: The Symbolic Journey of Humankind, Harry N. Abrams, New York.