Description
Bodies of Maize, Eaters of Grain provides a comparative study of the earliest urban civilizations of the Maya lowlands and the Greek mainland. It builds upon in advance comparative studies by Gordon Childe, Robert Adams and Bruce Trigger, extending their work into new directions. Specifically, the point of interest lies at the art styles of the Late Preclassic lowland Maya and Mycenaean Greece. The approach used here seeks to combine more traditional iconographic approaches with more up to date models on metaphor and the social agency of things. Comparing Maya and Mycenaean art styles throughout the three aspects of metaphor, semiotics and praxis, their differences and similarities are made clear. The book shows art to have played a more active role within the development of the earliest urban civilizations, fairly than passively reflecting economic and political trends. In that way, the social role of art provides a key to understanding the relations between the different factors within the development of the two societies, as they played out at different temporal and geographical scales. To take note this, the notion of distinct Maya and Mycenaean ‘material worlds,’ involving both materials and ideas, is proposed, with consequences for models in regards to the earliest urban civilizations generally.
Table of Contents
Summary
Chapter One: Introduction
Chapter Two: Philosophical – Methodological Issues for Cross-cultural Comparison in Archaeology
Chapter Three: Introduction to Mycenaean Early Civilisation
Chapter Four: General Characteristics of Mycenaean Art
Chapter Five: Contexts and Agency of Mycenaean Art
Chapter Six: Introduction to Late Preclassic Lowland Maya Early Civilisation
Chapter Seven: General Characteristics of Late Preclassic Lowland Maya Art
Chapter Eight: Contexts and Agency of Late Preclassic Lowland Maya Art
Chapter Nine: Comparing the Art of the Mycenaean and Late Preclassic Lowland Maya Early Civilisations
Chapter Ten: Conclusion
Bibliography
Appendix: Overview of the Narrative Micro-structures within the San Bartolo Wall-paintings