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Stories of the Past
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Smlednik Castle
Modern science started studying the Smlednik Castle over a century and a half ago. However, what might be even more important is the fact that more or less intense conservation works have been carried out at this location for over half a century. Regardless of this there is almost no expert literature on the castle to be found: short papers can be counted on the fingers of one hand, while monograph publications are sought in vain. The situation regarding contributions that promotes cultural heritage is somewhat better. The purpose of the book in front of you is thus clear: to present the history of the research and conservation efforts as well as the findings gained from the latest research ...
Plants and People
This first monograph in the EARTH series, The dynamics of non-industrial agriculture: 8,000 years of resilience and innovation, approaches the great variety of agricultural practices in human terms. It focuses on the relationship between plants and people, the complexity of agricultural processes and their organisation within particular communities and societies. Collaborative European research among archaeologists, archaeobotanists, ethnographers, historians and agronomists using a broad analytical scale of investigation seeks to establish new common ground for integrating different approaches. By means of interdisciplinary examples, this book showcases the relationship between people and plants across wide ranging and diverse spatial and temporal milieus, including crop diversity, the use of wild foodstuffs, social context, status and choices of food plants.
Does War Belong in Museums?
Presentations of war and violence in museums generally oscillate between the fascination of terror and its instruments and the didactic urge to explain violence and, by analysing it, make it easier to handle and prevent. The museums concerned also have to face up to these basic issues about the social and institutional handling of war and violence. Does war really belong in museums? And if it does, what objectives and means are involved? Can museums avoid trivializing and aestheticising war, transforming violence, injury, death and trauma into tourist sights? What images of shock or identification does one generate - and what images would be desirable?
