Archival theory, chronology and interpretation of rock art in the Western Cape, South Africa:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford
Archaeopress Publishing LTD
[2016]
|
| Schriftenreihe: | Cambridge monographs in African archaeology
93 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | vi, 158 Seiten. - Illustrationen, Diagramme, Karten |
| ISBN: | 9781784914462 |
Internformat
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Datensatz im Suchindex
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| adam_text | Titel: Archival theory, chronology and interpretation of rock art in the Western Cape, South Africa
Autor: Mguni, Siyakha
Jahr: 2016
TABLE OF CONTENTS
Abstract.........................................i
Explanatory notes.............................................ii
Acknowledgements..............................iii
Contents......................................iv
CHAPTER ONE: CONCEIVING ROCK ART ARCHIVES......................................................................................................1
1.1. PAINTING SEQUENCES AS ARCHIVES.............................................................................................................................1
1.2. ROCK PAINTERS AS ACTIVE ARCHIVISTS .....................................................................................................................3
1.3. BREAKDOWN OF CHAPTERS..........................................................................................................................................7
CHAPTER TWO: SHIFTING ROCK ART PERSPECTIVES....................................................................................................9
2.1. CAPE ROCK PAINTING ASSEMBLAGES...........................................................................................................................9
2.2. ISSUES BEDEVILLING THE CHRONOLOGY OF ROCK ART ASSEMBLAGES.....................................................................13
2.3. ETHNOGRAPHY AND ROCK ART INTERPRETATION......................................................................................................15
2.4. OUTLINING THE ARCHIVAL PERSPECTIVE....................................................................................................................16
2.5. WHY A ROCK ART ARCHIVE?.......................................................................................................................................20
2.6. SHORT HISTORY OF SOUTHERN AFRICAN SEQUENCE STUDIES...................................................................................21
2.7. USING SUPERIMPOSITIONS FOR CHRONOLOGY FORMULATION................................................................................22
2.8. ANALYTICAL CONSIDERATIONS AND IMAGE DELINEATION.........................................................................................24
2.9. CATEGORIES OF ROCK ART IMAGES AND DEFINITIONS...............................................................................................25
CHAPTER THREE: ECOLOGICAL AND ARCHAEOLOGICAL CONTEXT..............................................................................27
3.1. BIOGEOGRAPHICAL ENVIRONMENT............................................................................................................................27
3.2. GEOGRAPHICAL SETTING............................................................................................................................................27
3.3. GEOLOGICAL BACKGROUND.......................................................................................................................................28
3.4. SOILS AND VEGETATION..............................................................................................................................................28
3.5. LOCAL CLIMATE...........................................................................................................................................................30
3.6. PALAEOENVI RON MENTAL SKETCH OF THE WESTERN CAPE........................................................................................31
3.7. SANDVELD AND INLAND MOUNTAIN ECOLOGIES CONTRASTED.................................................................................32
3.8. PREHISTORIC AND HISTORIC INTERFACE IN THE WESTERN CAPE...............................................................................33
CHAPTER FOUR: CAPE HISTORICAL SETTING..............................................................................................................37
4.1. SCALE, PATTERN AND PROCESS OF HISTORICAL CHANGE...........................................................................................37
4.2. TRANSITORY ARCHIVAL FRAGMENTS FROM COLONIAL SOURCES..............................................................................39
4.3. ANTIPATHY TOWARDS THE CAPE INDIGENES..............................................................................................................40
4.4. SOCIAL AND ECONOMIC IMPACT OF THE COLONIAL FRONTIER.................................................................................41
4.5. TERMINATION OF ANCIENT TRADITIONS.................................................................................................................43
CHAPTER FIVE: THEORY, METHOD AND METHODOLOGY...........................................................................................45
5.1. RESIDUES OF TEMPORALITY IN ROCK ART.................................................................................................................................................................45
5.2. AN EXPANDED DISCUSSION OF THE ARCHIVAL FRAMEWORK....................................................................................47
5.3. RESPECT DES FONDS AS A USEFUL ANALYTICAL TOOL................................................................................................50
5.4. SOME ISSUES ASSOCIATED WITH USING ROCK ART SUPERIMPOSITIONS..................................................................55
5.5. CREATING CLASSIFICATIONS FOR ROCK ART SEQUENCING........................................................................................................................56
5.6. HOW CHRONOLOGY? HARRIS MATRICES IN SEQUENCING IMAGERY.................................................................................................60
5.7. SITE AND GRAPHIC TRAITS FOR SEQUENCING ROCK ART......................................62
CHAPTER SIX: KEY SITES AND THEIR CONSTELLATIONS..............................................................................................65
6.1. DEMONSTRATING THE WESTERN CAPE CHRONOLOGY...............................................................................................65
6.2. ANALYSIS OF PAINTING SEQUENCE IN THE STUDY AREA............................................................................................66
6.3. KEY CHRONOLOGY SITES IN THE AGTER-PAKHUIS AREA.............................................................................................67
6.3.1. THE PAINTING SEQUENCE OF FALLEN ROCK SHELTER..............................................................................................67
6.3.2. THE PAINTING SEQUENCE OF MAIDENS POOL SHELTER..........................................................................................71
6.4. CONSOLIDATED DISCUSSION OF SEQUENCE RESULTS.................................................................................................77
CHAPTER SEVEN: WESTERN CAPE CHRONOLOGY.......................................................................................................82
7.1. INSIDE-OUT PERSPECTIVE OF ROCK PAINTING ARCHIVES...........................................................................................82
7.2. VISUALISING CHANGE OVER TIME IN THE SEQUENCE................................................................................................83
7.3. THE MAIN CHRONOLOGY PHASES...............................................................................................................................83
7.4. IMPLICATIONS FOR HISTORY AND ROCK ART INTERPRETATION.................................................................................92
7.5. ASPECTS OF CONTACT IMAGERY IN THE WESTERN CAPE...........................................................................................94
CHAPTER EIGHT: ART ON THE FRONTIER...................................................................................................................96
8.1. CONVERGING ROCK ART ARCHIVES AND HISTORY......................................................................................................96
8.2. HISTORICAL BACKGROUND: PEOPLE, ELEPHANTS AND SHEER...................................................................................98
8.3. FROM EARLIER TO NEWER SYMBOLIC TROPES.........................................................................................................104
8.4. SLICE THROUGH THE PAINTING ARCHIVE: DEFINING ELEPHANTS SHEEP..............................................................109
CHAPTER NINE: PAST TO PRESENT...........................................................................................................................116
9.1. ENVISAGING ROCK ART ARCHIVES...............................116
REFERENCES.......................................................119
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| title | Archival theory, chronology and interpretation of rock art in the Western Cape, South Africa |
| title_auth | Archival theory, chronology and interpretation of rock art in the Western Cape, South Africa |
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