4,980 research outputs found
Publishing with UCL Press: an author’s perspective
No full textThis blog post was written by Gabriel Moshenska, Senior Lecturer in Public Archaeology at UCL.
This article is part of the Institution as e-textbook publisher toolkit:
https://www.jisc.ac.uk/guides/institution-as-e-textbook-publisher-toolki
Working with Memory in the Archaeology of Modern Conflict
No full textThe aim of this article is to situate archaeological approaches to modern conflicts within a framework of conflict memory and commemoration. A critical appreciation of historical archaeology as a commemorative practice requires a firm grounding in memory theory, specifically the formation and contestation of memory narratives. This article offers a detailed analysis of the relevant theories and demonstrates their applicability in the contested archaeology of the Nazi era in Berlin. On the basis of this critique I argue that archaeological work on contested sites offers a unique and powerful forum for socially engaged interdisciplinary research
Kommentar zu Gabriel Moshenska: Reverse Engineering und die Archäologie der modernen Welt
No full textGabriel Moshenska sets out an argument for the utility of applying the theories and practices of “reverse engineering” to archaeological work. Reverse engineering involves taking objects apart in order to understand the design processes that were in play to create the object. Within contemporary industrial production reverse engineering allows product replication. When a product comes to market, competitors can reverse engineer it in order to design their own versions. It is, therefore, a key practice of market competition. In this article Moshenska is interested in the ways in which reverse engineering might reveal some of the human and more-than-human messiness of these processes, in the never-smooth tacit knowledges at play. His contention is that similarities in the aims, methods and intended outcomes of archaeology and reverse engineering make it a productive space in which to work with and understand, in particular, modern technological artefacts
Reverse Engineering und die Archäologie der fließenden Materialien. Eine Antwort auf den Beitrag von Gabriel Moshenska
No full textFirst of all, thanks to Gabriel Moshenska for raising such interesting questions regarding the relationship between reverse engineering and archaeology. His paper does an excellent job in setting out similarities and alignments between the two sets of practices, opening up the topic for further discussion. The author takes us a certain distance along a path of comparison, equips us with some well-honed ideas to carry with us, and then leaves it up to us to make of them what we will, or take them in whatever direction we choose. In picking up the challenge thus laid down, I will argue that archaeologists do indeed reverse engineer after a fashion, and that this not only has important implications for our understanding of archaeological inference: more than that, reverse engineering has potential to be of practical use to archaeologists in their investigation of specific types of material evidence, which I will go on to discuss
Comments on Gabriel Moshenska: ‘Ethics and Ethical Critique in the Archaeology of Modern Conflict’
No full textBarrow-born: archaeological practice as a literary device to evoke horror in the works of Nigel Kneale
No full textWe will explore how Nigel Kneale used archaeological and prehistoric sites and practices to evoke a sense of dread and horror in his writing and in translations of this work for film and television. The focus of the paper will be his use of the trope of archaeologists uncovering things that should have been left undisturbed – the dangers of deep time – and the ways that archaeological practices and research seem to have informed his work. It started, as it usually always does, with an excavation, in this case in Hobbs End underground station in London. Not only was this archaeological procedure the catalyst for the events in Quatermass and the Pit (1958-59 and 1967) but it was the arena within which horror played itself out until it could no longer be contained within the trench. Subsequently a whole host of instances of what Adam Scovell has termed ‘ancient evil’ escaping or extracted appeared in Kneale’s works. Prehistoric and ancient evils were unleashed in various ways: initially by more scientists, essentially aural archaeologists, in The Stone Tape (1972), but increasingly by others – a vet (the Beasts episode Baby, 1976), youths (Quatermass IV, 1977), a deranged entrepreneur (Halloween 3 Season of the Witch, 1982). This shows a progression from the dangers of doing archaeology towards the dangers of the archaeology itself. Moshenska has called this the ‘archaeological uncanny’, a general fictionalised unease with what archaeologists might be uncovering. This is also a recurring theme in the horror writing of MR James and HP Lovecraft, and more recently has found itself expressed in folk horror film and TV. Francis Young has termed this ‘archaeophobia’ defined as “the terrifying consequences of dabbling in archaeology”. Therefore, in our chapter, Kneale’s work will be situated in broader discourse about caricatures of our discipline especially within fiction, film, and TV of the horror genre. We will also explore Kneale’s descriptions and depictions of archaeologists at work, and what might have informed his writing about megaliths and pagan rites. This will be the first assessment of Kneale’s works from an academic archaeological perspective
Barrow-born: archaeological practice as a literary device to evoke horror in the works of Nigel Kneale
No full textWe will explore how Nigel Kneale used archaeological and prehistoric sites and practices to evoke a sense of dread and horror in his writing and in translations of this work for film and television. The focus of the paper will be his use of the trope of archaeologists uncovering things that should have been left undisturbed – the dangers of deep time – and the ways that archaeological practices and research seem to have informed his work. It started, as it usually always does, with an excavation, in this case in Hobbs End underground station in London. Not only was this archaeological procedure the catalyst for the events in Quatermass and the Pit (1958-59 and 1967) but it was the arena within which horror played itself out until it could no longer be contained within the trench. Subsequently a whole host of instances of what Adam Scovell has termed ‘ancient evil’ escaping or extracted appeared in Kneale’s works. Prehistoric and ancient evils were unleashed in various ways: initially by more scientists, essentially aural archaeologists, in The Stone Tape (1972), but increasingly by others – a vet (the Beasts episode Baby, 1976), youths (Quatermass IV, 1977), a deranged entrepreneur (Halloween 3 Season of the Witch, 1982). This shows a progression from the dangers of doing archaeology towards the dangers of the archaeology itself. Moshenska has called this the ‘archaeological uncanny’, a general fictionalised unease with what archaeologists might be uncovering. This is also a recurring theme in the horror writing of MR James and HP Lovecraft, and more recently has found itself expressed in folk horror film and TV. Francis Young has termed this ‘archaeophobia’ defined as “the terrifying consequences of dabbling in archaeology”. Therefore, in our chapter, Kneale’s work will be situated in broader discourse about caricatures of our discipline especially within fiction, film, and TV of the horror genre. We will also explore Kneale’s descriptions and depictions of archaeologists at work, and what might have informed his writing about megaliths and pagan rites. This will be the first assessment of Kneale’s works from an academic archaeological perspective
Gabriel Ajak Lat
No full textabstract: Gabriel was ten years old when he left his village.
“Lost Boys Found” is an ongoing, interdisciplinary project that is collecting, recording and archiving the oral histories of the Lost Boys/Girls of Sudan. The collection is a work-in-progress, seeking to record the oral history of as many Lost Boys/Girls as are willing, and will be used in a future book.Age: 27Region: Bahr al GhazalThis picture and bio was donated to the Lost Boys Found project from The Arizona Lost Boys Cente
Providence College Faculty Author Series 2013-2014: Fr. Gabriel Pivarnik
No full textIn this installment, Fr. Gabriel Pivarnik discusses his book Toward a Trinitarian Theology of Liturgical Participation and his reflections on the history of active participation within the Catholic Church
Providence College Faculty Author Series 2013-2014: Fr. Gabriel Pivarnik
No full textIn this installment, Fr. Gabriel Pivarnik discusses his book Toward a Trinitarian Theology of Liturgical Participation and his reflections on the history of active participation within the Catholic Church
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