Key diagnostic features allow the sexual identification of figures in Spanish Levantine rock art in a great number of cases. The analysis conducted here suggests the existence of a sexual division of labour, and that inequalities in this indicate that women were a socially exploited group. The emphasis on hunting found in the paintings responds to an ideology imposed by the dominant patriarchal order, and underscores the fact that masculine activities had greater social value. I argue that control over women is reflected in the scarcity of representations such as maternity, the cancellation of sexual attributes, and the invisibility of female activities. The politico-ideological strategy of concealment gave limited social value to women and their role in creating the conditions for social life.
ResumenLas secuencias cronológicas basadas en las seriaciones de la "cerámica Paracas" fueron revisadas, haciendo evidentes las paradojas, contradicciones e incoherencias de las cronologías relativas elaboradas desde axiomas histórico-culturales. Evaluamos las evidencias a partir de dataciones C 14 independientes. Finalmente, se discuten las claves para una sociología de la alfarería de los estilos de Ocucaje y Tajo, en el marco del Proyecto La Puntilla (Nasca, Ica).Palabras claves: arqueología social -Paracas -Nascaalfarería -producción. Abstract Independent C 14 dating was contrasted to chronological sequences based on "Paracas Pottery" series, evidencing the paradoxes, contradictions and incoherence in the relative chronologies derived from historico-cultural axioms. The conclusion addresses key aspects for a sociology of Ocucaje and Tajo ceramics, in the framework of the La Puntilla Project (Nasca, Ica).
Presentación del número 103 del Boletín Antropológico que compila un selecto número de artículos provenientes del IV Encuentro de Mujeres y Arqueología reunidas bajo el lema: “Hacer Arqueología desde el feminismo”
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