Beyond crusades: how (not) to engage with alternative archaeologies

Holtorf, Cornelius

doi:10.1080/00438240500395813

Cited by 61 publications

(37 citation statements)

References 7 publications

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“…Archaeologists are not normally good at communication with outsiders, especially when the theoretical background of the discipline is concerned. All too often, they seem happy to conform to the public perception as somewhat dumb treasure hunters, perhaps aided, in turn, by their perception of the public as gullible and stupid (Holtorf 2005).…”

Section: Archaeology and Historymentioning

confidence: 99%

“…Public archaeologists often forget that the public, by and large, do not want to be archaeologists and nor do they want huge amounts of detailed archaeological knowledge (Merriman 1991). In fact, most people who engage with archaeology are antiquarians: they have a general, broad interest in the past that takes in local history, genealogy and family history, some military history, and a degree of interest in, perhaps, Ancient Rome or the lands of the Bible (Holtorf 2005(Holtorf , 2007. This hulking majority engage with antiquity through television documentaries such as Time Team, through museum…”

Section: Popular Archaeologymentioning

confidence: 99%

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Key Concepts in Public Archaeology

2017

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This publication was made possible by funding from Jisc as part of the 'Institution as e-textbook publisher' project: https://www.jisc.ac.uk/rd/projects/institution-as-e-textbook-publisher.This book is dedicated to Tim Schadla-Hall who has led the teaching and study of public archaeology at UCL for two decades, and inspired and supported a generation of public archaeologists. vii AcknowledgementsThis book has been a long time in the making, and I must first express my thanks to everybody involved for their formidable patience. The collection of papers originates in the MA Public Archaeology at UCL, devised and taught over many years by Tim Schadla-Hall and others. Most of the contributors to this volume have taught on the MA course and several are graduates, while others carried out doctoral research within what is becoming known as the 'London school' of public archaeology. This is the appropriate place to acknowledge the leadership and vision of the late Peter Ucko, whose understanding of archaeology as a politically engaged practice entangled in everyday life gave rise to the teaching programme in public archaeology at UCL Institute of Archaeology at both undergraduate and graduate level, as well as the creation of the journal Public Archaeology, still hosted in that department. The Ucko tradition of public archaeology as both scholarship and practice has been maintained over the last two decades by Tim SchadlaHall, Neal Ascherson, Nick Merriman, Ulrike Sommer, Andrew Reid and many others in the Institute of Archaeology, and continues to this day. The publication of this volume has been guided with great patience and vision by Lara Speicher of UCL Press and her colleagues and I am grateful for their faith in the project. Public archaeology is founded upon the belief in breaking down divisions between professionals or academics and the wider world: UCL Press' commitment to Open Access publishing is a beacon in this broader campaign to share knowledge freely beyond the pay-walls and prohibitive prices of traditional elite academic publishing. Finally, my thanks to Maria Phelan and my family who have endured my moaning about this book for too long.

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Section: Archaeology and Historymentioning

confidence: 99%

Section: Popular Archaeologymentioning

confidence: 99%

Key Concepts in Public Archaeology

2017

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“…Hoy está casi universalmente admitido que los datos "objetivos" no existen y que la posición política y la subjetividad de los arqueólogos juegan un papel fundamental en sus narraciones sobre el pasado, así como en el uso que del pasado hacen en la actualidad (Shanks y Tilley 1987, Holtorf 2005. La reacción contra el positivismo dio lugar a numerosos trabajos críticos; al abrigo del posprocesualismo fl orecieron las posturas neomarxistas, la teoría crítica y el feminismo (Fernández 2006).…”

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“…Así, en muchos proyectos arqueológicos hoy en día es normal que se defi enda el escuchar otras opiniones (más allá de la academia), hacer participar a las comunidades locales, a los afi cionados o a los grupos minoritarios o incluso considerar la arqueología como una forma más de acercarse al pasado entre muchas (Holtorf 2005(Holtorf , 2006Haber 2007Haber , 2009). Una de las mejores muestras de esta práctica refl exiva sería el proyecto de Çatal Höyük, dirigido por Ian Hodder, donde se dejan oír las voces de la comunidad local, los estudiantes que participan en el proyecto, arqueólogos que excavaron el sitio antes y las adoradoras de la diosa madre, entre otros (Hodder 2000).…”

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Contra la Pospolítica: Arqueología de la Guerra Civil Española

González-Ruibali¹

2011

Revista Chilena De Antropología

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“…While recognising that the boundaries between alternative and mainstream archaeologies shift over time, Schadla-Hall identified a number of characteristics common to these groups, among them an emphasis on hyperdiffusionism, extremely-advanced ancient societies, extraterrestrial contact, and attempts to prove the literal truth of mythology (2004: 256-58). Academic archaeologists have been divided in their approach to such phenomena, with some advocating tolerance and multivocality (Bender 1998;Wallis 2003;Holtorf 2005) and others opting for a more confrontational, exclusivist approach that firmly differentiates between pseudo and 'legitimate' archaeologies (Cole 1980;Feder 2002;Fagan 2006;Feder and Fagan 2006;Levitt 2006).…”

mentioning

confidence: 99%

Lucifer Over Luxor: Archaeology, Egyptology, and Occultism in Kenneth Anger’s Magick Lantern Cycle

White

2016

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One of the great figureheads of American experimental cinema, Kenneth Anger (b.1927), is internationally renowned for his pioneering work, recognisable for its blend of homoerotica, popular and classical music, and dark, symbolist imagery. A follower of Thelema, the religion of infamous British occultist Aleister Crowley (1875–1947), Anger’s work is imbued with occult themes and undercurrents rarely comprehensible to the non-initiated viewer. In exploring these esoteric ideas, Anger makes use of archaeology and heritage in his short films Eaux d’Artifice (1953) and Inauguration of the Pleasure Dome (1954–66), as well as in the lost films The Love That Whirls (1949) and Thelema Abbey (1955), which utilize such disparate elements as Aztec human sacrifice and putative Renaissance Satanism. However, this theme only reaches its apex in Lucifer Rising (1980), an exploration of Thelemic theology filmed at such sites as Avebury, Luxor, and Karnak, which reflects and propagates the Thelemic view of the past—an ‘alternative archaeology’ rooted in Crowley’s own fascination with Egyptomania. This paper seeks to explore Anger’s use of the past and place it in its proper context of twentieth-century Western esotericism.

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Beyond crusades: how (not) to engage with alternative archaeologies

Cited by 61 publications

References 7 publications

Key Concepts in Public Archaeology

Key Concepts in Public Archaeology

Contra la Pospolítica: Arqueología de la Guerra Civil Española

Lucifer Over Luxor: Archaeology, Egyptology, and Occultism in Kenneth Anger’s Magick Lantern Cycle

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