My passion for ancient history and archaeology began in secondary school when I started learning Latin and we were taken on a field trip to Fishbourne Roman Palace. By the time I started my MA at Bristol, my obsession with ancient Roman housing was well and truly established, and it quickly became clear to me that this was the area that I wanted to study for my PhD. Now as an Associate Professor in Ancient History and Archaeology at Royal Holloway, University of London, I have been very lucky to study and teach a range of areas in ancient history and archaeology, including my beloved area of the Roman domestic realm.
I wrote
Multisensory Living in Ancient Rome: Power and Space in Roman Houses
Historian Mark Smith has written widely on the topic of understanding sensory experiences of the past.
At just over 100 pages long, his most recent book is an excellent insight into the field for both those new to it, and those who are already familiar with writing history of the senses.
Starting with an overview of the origins of sensory history and moving through to consider both the strengths and challenges of current research in this area, Smith concludes this book with a clear, accessible, and persuasive argument for future directions of work in the field.
I cannot recommend this book highly enough for anyone interested in exploring sensory history!
A Sensory History Manifesto is a brief and timely meditation on the state of the field. It invites historians who are unfamiliar with sensory history to adopt some of its insights and practices, and it urges current practitioners to think in new ways about writing histories of the senses.
Starting from the premise that the sensorium is a historical formation, Mark M. Smith traces the origins of historical work on the senses long before the emergence of the field now called "sensory history," interrogating, exploring, and in some cases recovering pioneering work on the topic. Smith argues that we are…
Hamilakis’s Archaeology and the Senses was one of the first books I read when starting to explore multisensory history, and it totally altered my view of how we study the past.
Focusing on Bronze-Age Crete, Hamilakis examines how archaeology has engaged with the bodily senses thus far and critiques its emphasis on sight and the traditional hierarchy of the five senses in the west.
Moreover, he proposes an innovative and exciting means by which archaeology can move beyond its focus on visual experiences of artefacts, environments, and materials to bring in lost and neglected, yet just as important, bodily senses such as sound, smell, taste, and touch.
Through this approach to archaeology he seeks to evoke a deeper, richer insight into the breadth of human experience in past societies.
This book is an exciting new look at how archaeology has dealt with the bodily senses and offers an argument for how the discipline can offer a richer glimpse into the human sensory experience. Yannis Hamilakis shows how, despite its intensely physical engagement with the material traces of the past, archaeology has mostly neglected multi-sensory experience, instead prioritising isolated vision and relying on the Western hierarchy of the five senses. In place of this limited view of experience, Hamilakis proposes a sensorial archaeology that can unearth the lost, suppressed, and forgotten sensory and affective modalities of humans. Using Bronze Age…
1184 BCE. Ramesses III, who will become the last of the great pharaohs, is returning home from battle. He will one day assume the throne of the Egyptian empire, and the plots against him and his children have already started. Even a god can die.
Exploring how and why Romans built their houses to impact all bodily senses sits at the heart of my book.
Whilst interest in planning and building for such full body experiences in architecture today has declined, Pallasmaa’s The Eyes of the Skin presents a compelling argument for the importance of understanding the role of the multiple bodily senses in our experience of built spaces around us.
Divided into two main sections, the first of these examines the pre-eminence of sight in the West and its detrimental impact on architectural practise and our built environs.
The second part considers the role played our other bodily senses in experiencing architecture and proposes a new approach to building design and construction which seeks to integrate full sensory experience into the architectural process.
First published in 1996, The Eyes of the Skin has become a classic of architectural theory. For every new intake of students studying Pallasmaa s classic text, The Eyes of the Skin provides a totally fresh understanding of architecture and a new set of insights. This third edition is intended to meet students desire for a further understanding of the context of Pallasmaa s thinking by providing a new essay by architectural author and educator Peter MacKeith. This text combines both a biographical portrait of Pallasmaa and an outline of his architectural thinking. The new edition will includes a new…
As a fan of historical novels, I love when past worlds open up through colourful and evocative descriptions.
Although a work of fiction, not a historical text, reading Perfumehelped me think differently about arguably the most ephemeral and complex sense – smell.
Set in the sensorially rich world of eighteenth-century France, the story follows Jean-Baptiste Grenouille, a man born with a sense of smell so extraordinary he can differentiate between a range of odours far greater than anyone else.
Whilst at times a gift, his ability leads him into the realms of obsession and murder in an attempt to own and recreate particular, yet fleeting, scents.
This novel is a great starting place for opening up the transient world of smell and its emotional impacts on people.
An erotic masterpiece of twentieth century fiction - a tale of sensual obsession and bloodlust in eighteenth century Paris
'An astonishing tour de force both in concept and execution' Guardian
In eighteenth-century France there lived a man who was one of the most gifted and abominable personages in an era that knew no lack of gifted and abominable personages. His name was Jean-Baptiste Grenouille, and if his name has been forgotten today.
It is certainly not because Grenouille fell short of those more famous blackguards when it came to arrogance, misanthropy, immorality, or, more succinctly, wickedness, but because his gifts…
Miranda falls in love with her dream house but soon discovers it's an affair with complications. A lot of them. Rosewood is a centuries old, tumble-down, gambrel roofed charmer located in an isolated, coastal corner of Virginia referred to as "strange". Known for long-standing and antiquated customs, an almost indecipherable…
In The Foul and the Fragrant, Corbin offers an extraordinary historical examination of the experience and perception of smell in France from the mid-18th century to the end of the 19th century.
Drawing on diverse disciplines from architectural studies and the history of medicine to literary criticism, this book does not merely recount the array of pungent odours from past societies - although the colour with which it depicts the many fetid, sometimes glorious odours of historic France are eye-opening when compared with the relatively deodorised world we inhabit today.
Rather it examines the crucial role of smell in understanding health and disease before Pasteur’s development of germ theory.
This pioneering work is a must for anyone wanting to learn more about the role and significance of scent in past societies.
In a book whose insight and originality have already had a dazzling impact in France, Alain Corbin has put the sense of smell on the historical map. He conjures up the dominion that the combined forces of smells--from the seductress's civet to the ubiquitous excremental odors of city cesspools--exercised over the lives (and deaths) of the French in the eighteenth and nineteenth centuries.
People have long wondered what life was like in the ancient Roman house. How, for example, did slaves, inhabitants, or visitors experience the same dwelling differently from each other? And how did an owner manipulate the spaces of their home to display their status to others? To answer these questions, this book draws on written and archaeological evidence to explore the sounds, smells, tastes, sights, and other bodily experiences to be had in the houses of ancient Rome. Moving between non-elite urban residences to lavish country villas, each chapter takes the reader on a journey into the Roman house room by room, considering the reasons, emotions, and cultural factors behind the perception, recording, and control of bodily experience in ancient Roman dwellings.
Riley Masterson has moved to Greenbrier, SC, anxious to escape the chaos that has overwhelmed her life.
Questioned in a murder in Alabama, she has spent eighteen months under suspicion by a sheriff’s office, unable to make an arrest. But things in gentrifying Greenbrier are not as they seem. As…
On Draakensky Windmill Estate, magick and mystery rule. Sketch artist Charlotte Knight is hired to live on the estate while illustrating poetry under the direction of the reclusive spinster, and wind witch, Jaa Morland—who believes in ghosts. Charlotte quickly encounters the voice…
