Ambiguous Images: Gender and Rock Art

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Rowman Altamira, 2004 - Art - 249 pages
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What does rock art say about gender and how can our understanding of gender shape the way that we view rock art? A significant contribution to the relatively unexplored field of gender in rock art, this volume contains a wealth of information for archaeologists, anthropologists, and art historians interested in past gender systems. Hays-Gilpin argues that art is at once a product of its physical and social environment and at the same time a tool of influence in shaping behavior and ideas within a society. Taking this stance, rock art is shown to be very often one of the strongest lines of evidence avaliable to scholars in understanding ritual practices, gender roles, and ideologicial constructs of prehistoric peoples. Subsequently issues of representation and the people who made these forms of art are also discussed.

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Rock Art and Gender on the Margins
Recognizing Sex and Gender
Engendering and Degendering Paleolithic Europes Cave Paintings
Regendering Fertility Shrines in the West
Separate Spheres Who Made Rock Art?
Life Cycles and Puberty Rites
Maidens and Flute Players in the Southwest
Sacred Landscapes and Social Landscapes
Women Men Ritual and Rock Art
Shamans with History
Taking Rock Art Seriously
About the Author

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Page 228 - Lewis- Williams, J. David, and Thomas A. Dowson. 1988. The Signs of All Times: Entoptic Phenomena and Upper Palaeolithic Art.
Page 234 - A Rock Painting of the Thompson River Indians, British Columbia. Bulletin of the American Museum of Natural History 8:227-30.

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About the author (2004)

Kelley Hays-Gilpin teaches archaeology, ceramic analysis, and a rock art course at Northern Arizona University in Flagstaff, just hours from Petrified Forest National Park and her favorite rock art. She received her PhD in anthropology at the University of Arizona in 1992, then worked for the Navajo Nation Archaeology Department for several years. She has co-authored books on prehistoric sandals of northern Arizona and pottery of Arizona's Puerco Valley, and co-edited the Reader in Gender Archaeology with David S. Whitley. Current projects include collaboration with the Museum of Northern Arizon, Harvard Peabody Museum, and the Hopi Tribe on the Southwest Mural Project, a multidisciplinary study of 15th-17th century dry fresco painting from the Puebloan region.

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