000			02202 a2200301 4500
001			1351610481
005			20250317111633.0
008			250312042017GB 135 eng
020			_a9781351610483
037			_bTaylor & Francis _cGBP 44.99 _fBB
040			_a01
041			_aeng
072	7		_aNKD _2thema
072	7		_aNKL _2thema
072	7		_a1D _2bisac
072	7		_a3B _2bisac
072	7		_aHDDA _2bic
072	7		_aHDL _2bic
072	7		_a1D _2bisac
072	7		_aSOC003000 _2bisac
072	7		_a709.0113 _2bisac
100	1		_aIngrid Fuglestvedt
245	1	0	_aRock Art and the Wild Mind _bVisual Imagery in Mesolithic Northern Europe
250			_a1
260			_aOxford _bRoutledge _c20171222
300			_a458 p
520			_bRock Art and the Wild Mind presents a study of Mesolithic rock art on the Scandinavian peninsula, including the large rock art sites in Alta, Nämforsen and Vingen. Hunters’ rock art of this area, despite local styles, bears a strong commonality in what it depicts, most often terrestrial big game in diverse confrontations with the human realm. The various types of compositions are defined as visual thematizations of the enigmatic relationship between humans and big game animals. These thematizations, here defined as motemes , are explained as being products of the Mesolithic mind ‘in action’, observed through repetitions, variations and transformations of a number of defined motemes. Through a transformational logic, the transition from ‘animic’ to ‘totemic’ rock art is observed. Totemic rock art reaches a peak during the final stages of the Late Mesolithic, and it is suggested that this can be interpreted as representing an increasing focus on human society towards the end of this era. The move from animism to totemism is explained as being part of the overall social development on the Scandinavian peninsula. This book will be of interest to students of rock art generally and scholars working on the historical developments of prehistoric hunter-gatherers in northern Europe. It will also appeal to students and academics in the fields of art history and aesthetics and to those interested in the work of Lévi-Strauss.
999			_c6890 _d6890