Description

How can we find alternative, sensorially rich and affective ways of engaging with the material past in the present? How can photography play a central role in archaeological narratives, beyond representation and documentation? This photo-book engages with these questions, not through conventional academic discourse but through evocative creative practice. The book is, at the same time, a site guide of sorts: a photographic guide to the archaeological site of the Sanctuary of Poseidon in Kalaureia, on the island of Poros, in Greece. Ancient and not-so-ancient stones, pine trees that were “wounded” for their resin, people who lived amongst the classical ruins, and the tensions and the clashes with the archaeological apparatus and its regulations, all become palpable, affectively close and immediate. Furthermore, the book constitutes an indirect but concrete proposal for the adoption of archaeological photo-ethnography as a research as well as public communication tool for critical heritage studies, today.

CAMERA KALAUREIA: An Archaeological Photo-Ethnography | Μια Αρχαιολογικη Φωτο-Εθνογραφια

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£58.75

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Paperback / softback by Yannis Hamilakis , Fotis Ifantidis

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Short Description:

How can we find alternative, sensorially rich and affective ways of engaging with the material past in the present? How... Read more

    Publisher: Archaeopress
    Publication Date: 31/07/2016
    ISBN13: 9781784914127, 978-1784914127
    ISBN10: 1784914126

    Number of Pages: 170

    Non Fiction , History

    Description

    How can we find alternative, sensorially rich and affective ways of engaging with the material past in the present? How can photography play a central role in archaeological narratives, beyond representation and documentation? This photo-book engages with these questions, not through conventional academic discourse but through evocative creative practice. The book is, at the same time, a site guide of sorts: a photographic guide to the archaeological site of the Sanctuary of Poseidon in Kalaureia, on the island of Poros, in Greece. Ancient and not-so-ancient stones, pine trees that were “wounded” for their resin, people who lived amongst the classical ruins, and the tensions and the clashes with the archaeological apparatus and its regulations, all become palpable, affectively close and immediate. Furthermore, the book constitutes an indirect but concrete proposal for the adoption of archaeological photo-ethnography as a research as well as public communication tool for critical heritage studies, today.

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