Archaeology

101 Things I Learned in Architecture School

2008 Silver Award Winner, Architecture Category, Independent Publisher Book Awards. and Winning entry, General Trade Illustrated Category, in the 2008 New England Book Show sponsored by Bookbuilders of Boston.

This is a book that students of architecture will want to keep in the studio and in their backpacks. It is also a book they may want to keep out of view of their professors, for it expresses in clear and simple language things that tend to be murky and abstruse in the classroom. These 101 concise lessons in design, drawing, the creative process, and presentation--from the basics of "How to Draw a Line" to the complexities of color theory--provide a much-needed primer in architectural literacy, making concrete what too often is left nebulous or open-ended in the architecture curriculum. Each lesson utilizes a two-page format, with a brief explanation and an illustration that can range from diagrammatic to whimsical. The lesson on "How to Draw a Line" is illustrated by examples of good and bad lines; a lesson on the dangers of awkward floor level changes shows the television actor Dick Van Dyke in the midst of a pratfall; a discussion of the proportional differences between traditional and modern buildings features a drawing of a building split neatly in half between the two. Written by an architect and instructor who remembers well the fog of his own student days, 101 Things I Learned in Architecture School provides valuable guideposts for navigating the design studio and other classes in the architecture curriculum. Architecture graduates--from young designers to experienced practitioners--will turn to the book as well, for inspiration and a guide back to basics when solving a complex design problem.

The End of Days: Armageddon and Prophecies of the Return (The Earth Chronicles)

Why is it that our current twenty-first century A.D. is so similar to the twenty-first century B.C.?
Is history destined to repeat itself? Will biblical prophecies come true, and if so, when?

It has been more than three decades since Zecharia Sitchin's trailblazing book The 12th Planet brought to life the Sumerian civilization and its record of the Anunnaki—the extraterrestrials who fashioned man and gave mankind civilization and religion. In this new volume, Sitchin shows that the End is anchored in the events of the Beginning, and once you learn of this Beginning, it is possible to foretell the Future.

In The End of Days, a masterwork that required thirty years of additional research, Sitchin presents compelling new evidence that the Past is the Future—that mankind and its planet Earth are subject to a predetermined cyclical Celestial Time.

In an age when religious fanaticism and a clash of civilizations raise the specter of a nuclear Armageddon, Zecharia Sitchin shatters perceptions and uses history to reveal what is to come at The End of Days.

The Last Days of the Incas

In 1532, the fifty-four-year-old Spanish conquistador Francisco Pizarro led a force of 167 men, including his four brothers, to the shores of Peru. Unbeknownst to the Spaniards, the Inca rulers of Peru had just fought a bloody civil war in which the emperor Atahualpa had defeated his brother Huascar. Pizarro and his men soon clashed with Atahualpa and a huge force of Inca warriors at the Battle of Cajamarca. Despite being outnumbered by more than two hundred to one, the Spaniards prevailed -- due largely to their horses, their steel armor and swords, and their tactic of surprise. They captured and imprisoned Atahualpa. Although the Inca emperor paid an enormous ransom in gold, the Spaniards executed him anyway. The following year, the Spaniards seized the Inca capital of Cuzco, completing their conquest of the largest native empire the New World has ever known. Peru was now a Spanish colony, and the conquistadors were wealthy beyond their wildest dreams.

But the Incas did not submit willingly. A young Inca emperor, the brother of Atahualpa, soon led a massive rebellion against the Spaniards, inflicting heavy casualties and nearly wiping out the conquerors. Eventually, however, Pizarro and his men forced the emperor to abandon the Andes and flee to the Amazon. There, he established a hidden capital, called Vilcabamba. Although the Incas fought a deadly, thirty-six-year-long guerrilla war, the Spanish ultimately captured the last Inca emperor and vanquished the native resistance.

Kim MacQuarrie lived in Peru for five years and became fascinated by the Incas and the history of the Spanish conquest. Drawing on both native and Spanish chronicles, he vividly describes the dramatic story of the conquest, with all its savagery and suspense. MacQuarrie also relates the story of the modern search for Vilcabamba, of how Machu Picchu was discovered, and of how a trio of colorful American explorers only recently discovered the lost Inca capital of Vilcabamba, hidden for centuries in the Amazon.

This authoritative, exciting history is among the most powerful and important accounts of the culture of the South American Indians and the Spanish Conquest.

The Horse, the Wheel, and Language: How Bronze-Age Riders from the Eurasian Steppes Shaped the Modern World

Roughly half the world's population speaks languages derived from a shared linguistic source known as Proto-Indo-European. But who were the early speakers of this ancient mother tongue, and how did they manage to spread it around the globe? Until now their identity has remained a tantalizing mystery to linguists, archaeologists, and even Nazis seeking the roots of the Aryan race. The Horse, the Wheel, and Language lifts the veil that has long shrouded these original Indo-European speakers, and reveals how their domestication of horses and use of the wheel spread language and transformed civilization.

Linking prehistoric archaeological remains with the development of language, David Anthony identifies the prehistoric peoples of central Eurasia's steppe grasslands as the original speakers of Proto-Indo-European, and shows how their innovative use of the ox wagon, horseback riding, and the warrior's chariot turned the Eurasian steppes into a thriving transcontinental corridor of communication, commerce, and cultural exchange. He explains how they spread their traditions and gave rise to important advances in copper mining, warfare, and patron-client political institutions, thereby ushering in an era of vibrant social change. Anthony also describes his fascinating discovery of how the wear from bits on ancient horse teeth reveals the origins of horseback riding.

The Horse, the Wheel, and Language solves a puzzle that has vexed scholars for two centuries--the source of the Indo-European languages and English--and recovers a magnificent and influential civilization from the past.

The Mystery of the Crystal Skulls: Unlocking the Secrets of the Past, Present, and Future

The action movie Indiana Jones and the Kingdom of the Crystal Skull has based its plot on the real crystal skulls, the story of which is documented in this book

• Investigates the Maya and Native American legends that tell of thirteen crystal skulls said to hold vital information about coming Earth changes

• By independent filmmakers Chris Morton and Ceri Louise Thomas, whose A&E documentary on the crystal skulls won high acclaim in the United States and abroad

• Over 100,000 copies sold worldwide

Native American legend tells of thirteen life-size crystal skulls said to contain crucial information about humankind’s true purpose and destiny. The legend prophesied that one day, at a time of great crisis for humanity, all thirteen crystal skulls would be rediscovered and brought together to reveal information vital to the very survival of the human race. To date several skulls have been discovered.

This book is the definitive guide to the facts and legends that inspired the May 2008 movie Indiana Jones and the Kingdom of the Crystal Skull. It explores what these mysterious crystal skulls are, where they came from, and what they may have to offer. The book follows Chris Morton and Ceri Louise Thomas on their journey of discovery from the ancient temples of the Maya to the British Museum, the Smithsonian, and to the crystal laboratories of Hewlett-Packard, where scientific tests on one of the skulls--made from the same quartz crystal used in today’s computers--lead to the conclusion, “This skull shouldn’t even exist.” Their journey also leads to Native shamans and elders who reveal the sacred knowledge and vital information that these skulls hold about coming Earth changes and humanity’s imminent destiny.

The Complete World of Greek Mythology

A full, authoritative, and wholly engaging account of these endlessly fascinating tales and of the ancient society in which they were created.

Greek myths are among the most complex and influential stories ever told. From the first millennium BC until today, the myths have been repeated in an inexhaustible series of variations and reinterpretations. They can be found in the latest movies and television shows and in software for interactive computer games.

This book combines a retelling of Greek myths with a comprehensive account of the world in which they developed—their themes, their relevance to Greek religion and society, and their relationship to the landscape.

• "Contexts, Sources, Meanings" describes the main literary and artistic sources for Greek myths, and their contexts, such as ritual and theater.
• "Myths of Origin" includes stories about the beginning of the cosmos, the origins of the gods, the first humans, and the founding of communities.
• "The Olympians: Power, Honor, Sexuality" examines the activities of all the main divinities.
• "Heroic exploits" concentrates on the adventures of Perseus, Jason, Herakles, and other heroes.
• "Family sagas" explores the dramas and catastrophes that befall heroes and heroines.
• "A Landscape of Myths" sets the stories within the context of the mountains, caves, seas, and rivers of Greece, Crete, Troy, and the Underworld.
• "Greek Myths after the Greeks" describes the rich tradition of retelling, from the Romans, through the Renaissance, to the twenty-first century.

The Little Ice Age: How Climate Made History, 1300-1850

"Climate change is the ignored player on the historical stage," writes archeologist Brian Fagan. But it shouldn't be, not if we know what's good for us. We can't judge what future climate change will mean unless we know something about its effects in the past: "those who do not learn from history are doomed to repeat it." And Fagan's story of the last thousand years, centered on the "Little Ice Age," reminds us of what we could end up repeating: flood, fire, and famine--acts of God exacerbated by acts of man.

For all that he takes a broad--a very broad--view of European history, Fagan's writing is laced with human faces, fascinating anecdotes, and a gift for the telling detail that makes history live, very much in the style of Barbara Tuchman's A Distant Mirror. When Fagan talks about the voyages of Basque fishermen to American shores (probably landing before Columbus sailed), he puts in the taste of dried cod and the terrifying suddenness of fogs on the Grand Banks. The Great Fire of London, what it was like when the Dutch dikes broke, the Irish Potato Famine, the year without a summer, ice fairs on the Thames, and volcanoes in the South Pacific--Fagan makes history a ripping yarn in which we are all actors, on a stage that has always been changing. --Mary Ellen Curtin

Who Owns Antiquity?: Museums and the Battle over Our Ancient Heritage

Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in Who Owns Antiquity?, one of the world's leading museum directors vigorously challenges this nationalistic position, arguing that it is damaging and often disingenuous. "Antiquities," James Cuno argues, "are the cultural property of all humankind," "evidence of the world's ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders."

Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. Antiquities need to be protected from looting but also from nationalistic identity politics. To do this, Cuno calls for measures to broaden rather than restrict international access to antiquities. He advocates restoration of the system under which source countries would share newly discovered artifacts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities. The first extended defense of the side of museums in the struggle over antiquities, Who Owns Antiquity? is sure to be as important as it is controversial.

An Illustrated Dictionary of the Gods and Symbols of Ancient Mexico and the Maya

The myths and beliefs of the great pre-Columbian civilizations of Mesoamerica have baffled and fascinated outsiders ever since the Spanish Conquest. Yet, until now, no single-volume introduction has existed to act as a guide to this labyrinthine symbolic world. The Gods and Symbols of Ancient Mexico and the Maya is the first-ever English-language dictionary of Mesoamerican mythology and religion. Nearly 300 entries, from accession to yoke, describe the main gods and symbols of the Olmecs, Zapotecs, Maya, Teotihuacanos, Mixtecs, Toltecs, and Aztecs. Topics range from jaguar and jester gods to reptile eye and rubber, from creation accounts and sacred places to ritual practices such as bloodletting, confession, dance, and pilgrimage. In addition, two introductory essays provide succinct accounts of Mesoamerican history and religion, while a substantial bibliographical survey directs the reader to original sources and recent discussions. Dictionary entries are illustrated with photographs and specially commissioned line drawings. Mary Miller and Karl Taube draw on their research in the fast-changing field of Maya studies, and on the latest Mexican discoveries, to produce an authoritative work that will serve as a standard reference for students, scholars, and travelers.

How to Read Egyptian Hieroglyphs: A Step-by-Step Guide to Teach Yourself, Revised Edition

You need no previous experience reading hieroglyphs to benefit from this book. This is a hieroglyphs guide for the layperson, tourist, or museum enthusiast who'd like to have more of a clue when it comes to understanding Egyptian hieroglyphs. Focusing on the funerary symbols one would be likely to see in Egypt or at a museum, and illustrated with hieroglyphs that are on display in the British Museum (drawn by Richard Parkinson, curator in the Department of Egyptian Antiquities at the British Museum), How to Read Egyptian Hieroglyphs makes possible a deeper appreciation not just of museum displays but of the Egyptian culture that used this writing system.

Both experts in Egyptology (Collier teaches Egyptology at the University of Liverpool, and Manley teaches the subject at the University of Glasgow), they explain how most hieroglyphs are used to convey the sound of the ancient Egyptian language, then go on to teach, in easily digestible segments, the basic phonograms (sound-signs) used in inscriptions a traveler or museum-goer would be most likely to encounter. Each chapter teaches a new portion of hieroglyphic script and a new aspect of the Middle Egyptian grammar, with a section to practice the new reading skills and exercises to solidify the lessons taught. It provides a wonderful opportunity to sit at home and learn about the pharaonic administration, ancient Egyptian family life, and the Egyptian way of death, while building a firm understanding of the most common features of hieroglyphs. --Stephanie Gold

Hieroglyphs are pictures used as signs in writing. When standing before an ancient tablet in a museum or visiting an Egyptian monument, we marvel at this unique writing and puzzle over its meaning. Now, with the help of Egyptologists Mark Collier and Bill Manley, museum-goers, tourists, and armchair travelers alike can gain a basic knowledge of the language and culture of ancient Egypt.
Collier and Manley's novel approach is informed by years of experience teaching Egyptian hieroglyphs to non-specialists. Using attractive drawings of actual inscriptions displayed in the British Museum, they concentrate on the kind of hieroglyphs readers might encounter in other collections, especially funerary writings and tomb scenes. Each chapter introduces a new aspect of hieroglyphic script or Middle Egyptian grammar and encourages acquisition of reading skills with practical exercises.
The texts offer insights into the daily experiences of their ancient authors and touch on topics ranging from pharaonic administration to family life to the Egyptian way of death. With this book as a guide, one can enjoy a whole new experience in understanding Egyptian art and artifacts around the world.