The dynamic processes of knowledge production in archaeology and elsewhere in the humanities and social sciences are increasingly viewed within the context of negotiation, cooperation and exchange, as the collaborative effort of groups, clusters and communities of scholars. Shifting focus from the individual scholar to the wider social contexts of her work, this volume investigates the importance of informal networks and conversation in the creation of knowledge about the past, and takes a closer look at the dynamic interaction and exchange that takes place between individuals, groups and clusters of scholars in the wider social settings of scientific work. Various aspects of and mechanisms at work behind the interaction and exchange that takes place between the individual scholar and her community, and the creative processes that such encounters trigger, are critically examined in eleven chapters which draw on a wide spectrum of examples from Europe and North America: from early modern antiquarians to archaeological societies and practitioners at work during the formative years of the modern archaeological disciplines and more recent examples from the twentieth century. The individual chapters engage with theoretical approaches to scientific creativity, knowledge production and interaction such as sociology and geographies of science, and actor-network theory (ANT) in their examination of individual–collective interplay. The book caters to readers both from within and outside the archaeological disciplines; primarily intended for researchers, teachers and students in archaeology, anthropology, classics and the history of science, it will also be of interest to the general reader.

Author: Karen Fricker

This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

The case of Oscar Montelius and Italy
Anna Gustavsson

6 Geographies of networks and knowledge production: the case of Oscar Montelius and Italy Anna Gustavsson In this chapter, I aim to highlight the potential of thinking geographically when studying networks and the production of archaeological knowledge, by considering the contacts in Italy of the Swedish archaeologist Oscar Montelius (1843–1921, see Figure 6.2) and his work on Italian prehistory.1 Oscar Montelius was a pioneer of prehistoric archaeology from the late nineteenth century onwards. He is mainly known for his work on typology and chronology. His Om

in Communities and knowledge production in archaeology
Abstract only
Jonathan Bignell

Introduction This chapter examines the significance of the production technologies used in making the five dramas written by Beckett for television and compares and contrasts these production technologies with those used in realising Film and television adaptations of theatre texts by Beckett. The British television plays were recorded in television studios and were shot on film, with the exception of Eh Joe (1966), which was a videotape production. The German productions of Beckett’s plays in the 1980s were

in Beckett on screen
Working memories
Author: David Calder

Street theatre and the production of postindustrial space explores how street theatre transforms industrial space into postindustrial space. Deindustrializing communities have increasingly turned to cultural projects to commemorate industrial heritage while simultaneously generating surplus value and jobs in a changing economy. Through analysis of French street theatre companies working out of converted industrial sites, this book reveals how theatre and performance more generally participate in and make historical sense of ongoing urban and economic change. The book argues, firstly, that deindustrialization and redevelopment rely on the spatial and temporal logics of theatre and performance. Redevelopment requires theatrical events and performative acts that revise, resituate, and re-embody particular pasts. The book proposes working memory as a central metaphor for these processes. The book argues, secondly, that in contemporary France street theatre has emerged as working memory's privileged artistic form. If the transition from industrial to postindustrial space relies on theatrical logics, those logics will manifest differently depending on geographic context. The book links the proliferation of street theatre in France since the 1970s to the crisis in Fordist-Taylorist modernity. How have street theatre companies converted spaces of manufacturing into spaces of theatrical production? How do these companies (with municipal governments and developers) connect their work to the work that occurred in these spaces in the past? How do those connections manifest in theatrical events, and how do such events give shape and meaning to redevelopment? Street theatre’s function is both economic and historiographic. It makes the past intelligible as past and useful to the present.

Tourism, transnational romance and anxieties of authenticity
Mariana Johnson

and auteur models to analyse the relationship between tourism and representation in Spanish-Cuban co-productions. It expands the purview of what typically falls under the heading of Spanish cinema by looking at recent Spanish films set in Cuba, or that represent Cuban immigrants in Spain, as well as films by Cuban directors that are supported by Spanish funding. Such a contrapuntal approach is useful in understanding

in Contemporary Spanish cinema and genre
Contraceptive manufacturing
Claire L. Jones

respectability of manufacturing, both in terms of the items produced and disseminated to consumers and in terms of the workers who produced them, formed a key part of the debates over contraceptive commercialisation in the interwar years, and yet historical work to date has overlooked its significance. Instead, historians have followed Norman Himes and his 1936 publication Medical History of Contraception to focus on the impact of technological development on manufacturing, arguing that mechanised latex manufacturing in particular transformed condom production and stimulated

in The business of birth control
Agricultural science and education
Ian Miller

2 Reforming food production: agricultural science and education ሉሊ The immediate post-Famine period was marked by profound optimism about the potential of Irish agricultural development. In the space of just a few years, Ireland’s socio-economic landscape had radically adjusted. By 1851, Ireland was a more desolate country, preparing itself for a gradual recovery from the socio-psychological scars left by the mass emigration, disease and death created by the Famine. Yet the country’s inhabitants appeared, or were at least presumed, to be ready and willing to

in Reforming food in post-Famine Ireland
South Africa in the post-imperial metropole
Laura Chrisman

chapter6 21/12/04 11:17 am Page 107 6 Transnational productions of Englishness: South Africa in the post-imperial metropole ‘Huge ideological work has to go on every day to produce this mouse that people can recognize as the English.’ Thus observes Stuart Hall, one of the foremost practitioners of black cultural studies in Britain.1 For Hall, the transformation of English national identity began with Margaret Thatcher’s 1979 government. The contemporary production of Englishness became, and continues to be, labour-intensive because England had lost the

in Postcolonial contraventions
Colonial order, convict labour and the convict private sphere, c.1803–17
Kirsty Reid

upon the family as labour. As in the other nineteenth-century Australian colonies, the labour of women was crucial to the survival of small farms. Rural households were sites of intense labour; isolation and frugality required that many operate as largely self-sufficient units. The production of numerous everyday items took place in the home: food was grown, pickled, brewed, cured, preserved and cooked, and items such

in Gender, crime and empire