Here are 100 books that Roloff Beny Interprets in Photographs Pleasure of Ruins fans have personally recommended if you like
Roloff Beny Interprets in Photographs Pleasure of Ruins.
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As an author of 50+ books of historical fiction and non-fiction for kids, teens, and adults I am handicapped by being unable to travel in time or go to the places I set my stories. I have long used photography as an attempt to capture a sense of places and the people who inhabit them, but I gradually realized that my images were not simply an adjunct to the stories I was telling but that the best of them had their own tales to tell. Through photographs, jumbled piles of stone became a gateway to a lost, magical past and a trigger for my imagination.
Not only am I enthralled by the large images of lost places and people, but I am in awe of the fact that the photographers even reached some of the wildest places on earth with over a hundred pounds of camera equipment and boxes of mostly poisonous chemicals.
I will never again complain about sitting in the cold or the heat with my lightweight 35mm camera, waiting for the lighting to be just right.
In the second half of the 19th century, unprecedented advances in technology resulted in the collision of travel and photography. Explorers were able to document their journeys, hauling enormous amounts of equipment over arduous terrain. The results were breathtaking. This collection of photographs takes readers on a historic global tour that includes five continents and offers a visible record of worlds long-since vanished. Beginning in North Africa amid the pyramids and along the Nile, this book takes readers down through the Sahara to South Africa via Cameroon, Ethiopia, and Zanzibar. The journey continues from South to North America, capturing images…
As an author of 50+ books of historical fiction and non-fiction for kids, teens, and adults I am handicapped by being unable to travel in time or go to the places I set my stories. I have long used photography as an attempt to capture a sense of places and the people who inhabit them, but I gradually realized that my images were not simply an adjunct to the stories I was telling but that the best of them had their own tales to tell. Through photographs, jumbled piles of stone became a gateway to a lost, magical past and a trigger for my imagination.
For me, poetry from Chaucer to Seamus Heaney can trigger an emotional reaction in the same way that a well-chosen image can.
So, it is natural that photographs and poems of the natural world should be paired. The depths that each adds to the other can hold me in thrall for hours as I delve back and forth and draw out every last emotion.
As an author of 50+ books of historical fiction and non-fiction for kids, teens, and adults I am handicapped by being unable to travel in time or go to the places I set my stories. I have long used photography as an attempt to capture a sense of places and the people who inhabit them, but I gradually realized that my images were not simply an adjunct to the stories I was telling but that the best of them had their own tales to tell. Through photographs, jumbled piles of stone became a gateway to a lost, magical past and a trigger for my imagination.
I love cities: Rome, Paris, Madrid. These are easy cities to love; all you need do is stroll around the Colosseum, walk along the banks of the Seine, or hang out in the Puerto del Sol.
I love London as well, but it hides itself better. You have to work to see the real London. Great damage was done during the Blitz, but much greater damage was done over the years by thoughtless development.
These photographs allow me to browse through a landscape that no longer exists.
A spectacular presentation of photographs of Tudor, Georgian and Victorian buildings captured just before their destruction - most seen here for the first time. "This endlessly absorbing book that is at once a record of destruction, a haunting collection of relics, and a door into the past." - John Carey, The Sunday Times.
"Each picture contains a novel in this deeply moving, unforgettable book." - Duncan Fallowell, Daily Express. "A magical book about the capital's past." - Sunday Times.
As an author of 50+ books of historical fiction and non-fiction for kids, teens, and adults I am handicapped by being unable to travel in time or go to the places I set my stories. I have long used photography as an attempt to capture a sense of places and the people who inhabit them, but I gradually realized that my images were not simply an adjunct to the stories I was telling but that the best of them had their own tales to tell. Through photographs, jumbled piles of stone became a gateway to a lost, magical past and a trigger for my imagination.
Antarctica is the one continent I have never taken a photograph in. It has barely changed in the past 100 years, but Hurley’s images still take me to an unknown world and how people have struggled to survive there.
I love the way he can capture the majesty of a landscape that is mostly just one colour and how his photographs give a sense of the puny humans grappling with the harshness of the environment.
Observant of the world around me, and intellectual, I discovered my ideal way of life at age 16 when I read Kroeber's massive textbook Anthropology, 1948 edition. Anthropologists study everything human, everywhere and all time. Archaeology particularly appealed to me because it is outdoors, physical, plus its data are only the residue of human activities, challenging us to figure out what those people, that place and time, did and maybe thought. As a woman from before the Civil Rights Act, a career was discouraged; instead, I did fieldwork with my husband, and on my own, worked with First Nations communities on ethnohistorical research. Maverick, uppity, unstoppable, like in these books.
Palace of King Minos at Knossos on Crete seized the imaginations of scores of modernist writers, artists, psychoanalysts, and philosophers as wealthy English archaeologist Arthur Evans had its ruins disinterred and reconstructed with reinforced concrete, a novel building material in the early twentieth century. Evans' imaginative palace complex is today mobbed by tourists (I recommend going off-season in January, as I did) who revere the Aegean as the birthplace of Civilization. Gere ties it in to Modernist projects rejecting Victorian overstuffed ornamentations in favor of supposed ancient purity. Her fascinating documentation of culture leaders from Freud to Le Corbusier buying into Evans' myth of an idealized past embeds archaeology in arts and humanities fashions that still confuse speculation with history.
In the spring of 1900, British archaeologist Arthur Evans began to excavate the palace of Knossos on Crete, bringing ancient Greek legends to life just as a new century dawned amid far-reaching questions about human history, art, and culture. With Knossos and the Prophets of Modernism, Cathy Gere relates the fascinating story of Evans' excavation and its long-term effects on Western culture. After World War I left the Enlightenment dream in tatters, the lost paradise that Evans offered in the concrete labyrinth - pacifist and matriarchal, pagan and cosmic - seemed to offer a new way forward for writers, artists,…
Observant of the world around me, and intellectual, I discovered my ideal way of life at age 16 when I read Kroeber's massive textbook Anthropology, 1948 edition. Anthropologists study everything human, everywhere and all time. Archaeology particularly appealed to me because it is outdoors, physical, plus its data are only the residue of human activities, challenging us to figure out what those people, that place and time, did and maybe thought. As a woman from before the Civil Rights Act, a career was discouraged; instead, I did fieldwork with my husband, and on my own, worked with First Nations communities on ethnohistorical research. Maverick, uppity, unstoppable, like in these books.
I was at the landmark conference in 1987 that legitimated critical analyses of archaeological work and the socio-cultural parameters in which it takes place. We were all surprised at the numbers, range of interests, range of professional standing of the participants, and enthusiasm––all reflected in the papers in this book. Dipping into it startles with the diversity of persons and places and times affecting the history of archaeology. Feminist concerns were loud and clear and critiqued from a supportive standpoint. Pair this with Trigger's magisterial history to see how he distilled a multitude of disparate activities oriented to the past, into his deeply discerning long story.
In 17 critical essays, the first book to address the historiography of archaeology evaluates how and why the history of archaeology is written.
The emphasis in the first section is on how archaeologists use historical knowledge of their discipline. For example, it can help them to understand the origin of current archaeological ideas, to learn from past errors, and to apply past research to current questions. It can even be integrated into the new liberal arts curricula in an attempt to instruct students in critical thinking.
The second section considers the sociopolitical context within which past archaeologists lived and worked…
Tim Murray has been a leading exponent of the history and philosophy of archaeology for the past thirty years. He has used the history of the discipline to explore the nature of archaeological theory and the many complex intersections between archaeology and society. Of his many publications flowing from this general project, the award-winning global scale five-volume Encyclopedia of Archaeology,the single volume global history of Archaeology Milestones in Archaeology. Murray is a global leader in applying studies in the history of archaeology to the reform of archaeological theory. This is evidenced by the publication of a collection of his essays, From Antiquarian to Archaeologist, and his numerous academic papers on the subject.
In its original edition, Bruce Trigger's book was the first ever to examine the history of archaeological thought from medieval times to the present in worldwide perspective.
Now, in this new edition, he both updates the original work and introduces new archaeological perspectives and concerns. At once stimulating and even-handed, it places the development of archaeological thought and theory throughout within a broad social and intellectual framework.
The successive but interacting trends apparent in archaeological thought are defined and the author seeks to determine the extent to which these trends were a reflection of the personal and collective interests of archaeologists as these relate - in the West at least - to the fluctuating fortunes of the middle classes.
While subjective influences have been powerful, Professor Trigger argues that the gradual accumulation of archaeological data has exercised a growing constraint on interpretation.
In its original edition, Bruce Trigger's book was the first ever to examine the history of archaeological thought from medieval times to the present in world-wide perspective. Now, in this new edition, he both updates the original work and introduces new archaeological perspectives and concerns. At once stimulating and even-handed, it places the development of archaeological thought and theory throughout within a broad social and intellectual framework. The successive but interacting trends apparent in archaeological thought are defined and the author seeks to determine the extent to which these trends were a reflection of the personal and collective interests of…
My fascination with the ancient past began when I was four years old and wanted to be a dinosaur, specifically a Tyrannosaurus rex. When it became clear that this option was not open to me, I decided instead to become an archaeologist. Archaeologists don’t study dinosaurs, but instead investigate human antiquity. When I began my 40+ years of teaching archaeology, I asked students what topics they wanted covered in class. Invariably they expressed an interest in things like ancient astronauts, Atlantis, Stonehenge, and pyramids. This led me to a career-long study of strange claims about the human past, it provided the raw material for multiple books on the subject.
Peeling back the stratigraphic layers of archaeology’s history, self-described “weirdshitologist,” archaeologist Jeb Card, reveals the discipline’s very “spooky” foundations in this riveting book. These foundations included a belief in a mythic time that preceded our modern world which has left behind its spoor in the form of eerie and phantasmagorical archaeological sites imbued with evil spirits, elves, pixies, djinn, elementals, and other paranormal entities. Card discusses haunted landscapes, bloodthirsty Druids, cursed mummies, and Lovecraftian “Old Ones” in his romp through all that is weird, strange, and, indeed, spooky in archaeology. Finally, Card shows that archaeology as presented on cable TV, YouTube videos, blogs, and social media is still haunted by the specter of Victorian Age beliefs about humanity’s presumably spooky past.
Outside of scientific journals, archaeologists are depicted as searching for lost cities and mystical artifacts in news reports, television, video games, and movies like Indiana Jones or The Mummy. This fantastical image has little to do with day-to-day science, yet it is deeply connected to why people are fascinated by the ancient past. By exploring the development of archaeology, this book helps us understand what archaeology is and why it matters.
In Spooky Archaeology author Jeb J. Card follows a trail of clues left by adventurers and professional archaeologists that guides the reader through haunted museums, mysterious hieroglyphic inscriptions, fragments…
Since childhood, growing up in a family with spiritualist beliefs, I’ve been fascinated with mysterious phenomena. Once I became a little older, and my childhood love of zoos, museums, and dinosaurs became a broader love of science, I began to re-examine certain fantastic claims and beliefs with a skeptical lens. I became fascinated not only with the subject of certain beliefs, but the reason we as humans have these beliefs. The study of ghosts, monsters, or UFOs is really a study of the human condition and our belief systems. It’s the exploration of the human side that motivates the characters in my books and my continued interest in mysterious phenomena.
Anyone who has watched the History Channel late into the night, or has listened to certain talk radio shows, understands the popular appeal of pseudo-archaeology. Whether it be talk of “ancient aliens,” a technologically-advanced Atlantis or nationalistic myths told for political motivation, pseudo-archaeology has been popular since the twentieth century and even before. Archaeologist Kenneth L. Feder tackles some of the misconceptions about history and archaeology that lead to pseudoscientific beliefs while painting a wondrous portrait of real-world archaeology. Feder not only dispels myths that might seem more fantastic or interesting than the facts, but he does so with an appreciation of past peoples and their accomplishments that is infectious. The reader emerges not only with an understanding of fact versus fiction vis a vis archaeology, but with an enduring interest in the science.
Frauds, myths, and supposed mysteries about humanity's past are moving targets for anyone committed to the scientific investigation of human antiquity. It is important for anyone interested in the human past to know, for example, that there is no evidence for a race of giant human beings in antiquity and no broken shards of laser guns under Egyptian pyramids. Debunking such nonsense is fun and useful in its own way, but more important is the process by which we determine that such claims are bunk.
Frauds, Myths, and Mysteries: Science and Pseudoscience in Archaeology, Tenth Edition, uses interesting--and often humorous--archaeological…
I grew up in Yorkshire and spent many happy hours as a teenager wandering about the Yorkshire Sculpture Park, looking at giant Henry Moores in the rolling landscape. I subsequently trained as an art historian and have spent the last thirty years writing about art, from the YBAs to our prehistoric roots. A Little History of Art was borne out of this journey. Increasingly I have been drawn to researching what art can tell us about British history. My bookshelves groan with monographs but these five volumes have helped me think more deeply about Britain’s landscapes and its past. I hope they will do the same for you.
I first read this book when I was trying to pull together all the disparate locations, time periods, and art movements for my book.
This task was a little overwhelming and Digging Up Britaintaught me how to make choices about what to include and what to leave out, how to weave it all into a narrative that makes sense, and how to bring prehistory to life.
Unusually, this book travels back in time as we travel through it. It is like an archaeological dig – we start with the Vikings and then the Staffordshire Hoard but end up with the Star Carr deer hunters and a million years of history.
It is a book you can dip into or read cover to cover (as I did) and it has some good illustrations and maps throughout.
Britain has long been fascinated with its own history and identity, as an island nation besieged by invaders from beyond the seas: the Romans, Vikings and Normans. The long saga of prehistory is often forgotten - but our understanding of our past is changing.
Mike Pitts presents ten astounding archaeological discoveries that shed new light on those who came before us, and radically altered the way we think about our history. His compelling, sometimes teasing, archaeological odyssey illustrates the diversity, complexity and sheer strangeness of the lives that represent Britain's past.
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