The Mountaineer Site presents over a decade’s worth of archaeological research conducted at Mountaineer, a Paleoindian campsite in Colorado’s Upper Gunnison Basin. Mountaineer is one of the very few extensively excavated, long-term Folsom occupations with evidence of built structures. The site provides a rich record of stone tool manufacture and use, as well as architectural features, and offers insight into Folsom period adaptive strategies from a time when the region was still in the grip of a waning Ice Age.
 
Contributors examine data concerning the structures, the duration and repetition of occupations, and the nature of the site’s artifact assemblages to offer a valuable new perspective on human activity in the Rocky Mountains in the Late Pleistocene. Chapters survey the history of fieldwork at the site and compare and explain the various excavation procedures used; discuss the geology, taphonomic history, and geochronology of the site; analyze artifacts and other recovered materials; examine architectural elements; and compare the present and past environments of the Upper Gunnison Basin to gain insight into the setting in which Folsom groups were operating and the resources that were available to them.
 
The Folsom archaeological record indicates far greater variability in adaptive behavior than previously recognized in traditional models. The Mountaineer Site shows how accounting for reduced mobility, more generalized subsistence patterns, and variability in tool manufacture and use allows for a richer and more accurate understanding of Folsom lifeways. It will be of great interest to graduate students and archaeologists focusing on Paleoindian archaeology, hunter-gatherer mobility, lithic technological organization, and prehistoric households, as well as prehistorians, anthropologists, and social scientists.
 
Contributors: Richard J. Anderson, Andrew R. Boehm, Christy E. Briles, Katherine A. Cross, Steven D. Emslie, Metin I. Eren, Richard Gunst, Kalanka Jayalath, Brooke M. Morgan, Cathy Whitlock
 

Since prehistoric times, Andean societies have been organized around the ayllu, a grouping of real or ceremonial kinspeople who share labor, resources, and ritual obligations. Many Andean scholars believe that the ayllu is as ancient as Andean culture itself, possibly dating back as far as 6000 B.C., and that it arose to alleviate the hardships of farming in the mountainous Andean environment.

In this boldly revisionist book, however, William Isbell persuasively argues that the ayllu developed during the latter half of the Early Intermediate Period (around A.D. 200) as a means of resistance to the process of state formation. Drawing on archaeological evidence, as well as records of Inca life taken from the chroniclers, Isbell asserts that prehistoric ayllus were organized around the veneration of deceased ancestors, whose mummified bodies were housed in open sepulchers, or challups, where they could be visited by descendants seeking approval and favors. By charting the temporal and spatial distribution of chullpa ruins, Isbell offers a convincing new explanation of where, when, and why the ayllu developed.

In early twentieth-century Berlin, Wilhelm von Bode sparked a controversy with his sweeping proposal to reorganize a group of the city’s museums. Debates about the role and structure of museums played out in 1907 and 1910 with two striking series of articles that appeared in the journal Museumskunde: Journal for the Administration and Technology of Public and Private Collections. The first was a six-part essay by Otto Lauffer on history museums, and the second was a ten-part piece by Oswald Richter regarding ethnographic museums. Together, they initiated a century of significant dialogue.

The Museum in the Cultural Sciences offers the first full English translations of these articles, which remain influential in conversations about the implications of art, historical, and ethnographic museums. They show how sophisticated the discussion of museums and museum display was in the early twentieth century and how much could be gained from revisiting these reflections today. Accompanied by short commentaries from museum professionals, these articles offer an intervention into and intensification of the current debate about the function and purpose of museums.

Here is a vividly written and fully illustrated assessment of the figured decoration on Late Bronze Age vessels from the Greek mainland, Cyprus, and the Aegean islands. It will become a standard source on the Mycenaean imagination.

Emily Vermeuele and Vassos Karageorghis describe the hunting scenes, chariots, sphinxes and griffins, bulls and birds, people dancing or fighting, and cult scenes on Mycenaean pottery. They analyze forms and styles, sources and influences, and the development of conventions. They relate what is known about the painters and their workshops, and the overseas trade. A catalogue of the 700 remaining whole and broken examples, now in museums around the world, is appended. Over 950 illustrations provide a comprehensive view of the art.

This study tells us much about Bronze Age civilization, and it opens the way to an understanding of the relationship of Greek art to figure drawing in pre-Classical times.

This volume offers an integrated and comparative approach to the Popol Vuh, analyzing its myths to elucidate the ancient Maya past while using multiple lines of evidence to shed light on the text. Combining interpretations of the myths with analyses of archaeological, iconographic, epigraphic, ethnohistoric, ethnographic, and literary resources, the work demonstrates how Popol Vuh mythologies contribute to the analysis and interpretation of the ancient Maya past.
 
The chapters are grouped into four sections. The first section interprets the Highland Maya worldview through examination of the text, analyzing interdependence between deities and human beings as well as the textual and cosmological coherence of the Popol Vuh as a source. The second section analyzes the Precolumbian Maya archaeological record as it relates to the myths of the Popol Vuh, providing new interpretations of the use of space, architecture, burials, artifacts, and human remains found in Classic Maya caves. The third explores ancient Maya iconographic motifs, including those found in Classic Maya ceramic art; the nature of predatory birds; and the Hero Twins’ deeds in the Popol Vuh. The final chapters address mythological continuities and change, reexamining past methodological approaches using the Popol Vuh as a resource for the interpretation of Classic Maya iconography and ancient Maya religion and mythology, connecting the myths of the Popol Vuh to iconography from Preclassic Izapa, and demonstrating how narratives from the Popol Vuh can illuminate mythologies from other parts of Mesoamerica.
 
The Myths of the Popol Vuh in Cosmology, Art, and Ritual is the first volume to bring together multiple perspectives and original interpretations of the Popol Vuh myths. It will be of interest not only to Mesoamericanists but also to art historians, archaeologists, ethnohistorians, iconographers, linguists, anthropologists, and scholars working in ritual studies, the history of religion, historic and Precolumbian literature and historic linguistics.
 
Contributors: Jaime J. Awe, Karen Bassie-Sweet, Oswaldo Chinchilla Mazariegos, Michael D. Coe, Iyaxel Cojtí Ren, Héctor Escobedo, Thomas H. Guderjan, Julia Guernsey, Christophe Helmke, Nicholas A. Hopkins, Barbara MacLeod, Jesper Nielsen, Colin Snider, Karl A. Taube