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Aegeus Society For Aegean Prehistory

BOOKS | 2011

25 November 2012

Ambiguity and Minoan Neopalatial Seal Imagery

Erin McGowan

Ambiguity and Minoan Neopalatial Seal Imagery

City: Uppsala

Year: 2011

Publisher: Åstrӧms Fӧrlag

Series: Studies in Mediterranean Archaeology and Literature Pocket Book 176

Description: Hardback, 96 p., 47 b/w figures, 25,5x17,5 cm

Abstract

Minoan seals have often been described as problematically ambiguous. By assembling and reframing current discourse, this volume challenges the value of characterising glyptic imagery in this way. Instead ambiguity may indicate the presence of deliberate practice, incorporating varied meanings through multivalent or condensed expression, well suited to the compact size of the glyptic medium. Using a form of relational network theory, the author explores the ways in which a selection of glyptic images from Ayia Triada respond to different conceptual and associative contexts and suggests that the idea of indeterminate ambiguity—as a by-product of western taxonomic systems—may mask this multivalent aspect. By positioning glyptic imagery as multivalent this volume makes a significant contribution to debates within Aegean Bronze Age archaeology and current interpretative practice.

Contents

Contents [iii]

Figures [v]

Abbreviations [xi]

Preface [xii]

1. Introduction [1]

1.1. Ambiguity and identification [1]
1.2. Exploring ambiguity [2]
1.3. Contextualising Minoan seals and rings [3]
1.3.1. Technology [3]
1.3.2. Chronology [4]
1.3.3. Sphragistic practices [5]
1.3.4. Social aspects of seal production and use [6]
1.3.5. Seal imagery and other media [7]

2. Ambiguity in Aegean glyptic studies [9]

2.1. Introduction [9]
2.2. Sir Arthur Evans and Aegean glyptic [9]
2.3. The CMS Project [12]
2.4. Empiricism and structuralism in Aegean glyptic [16]
2.5. Considering ambiguity in Aegean glyptic [17]
2.5.1. Causes of ambiguity: Lyvia Morgan [17]
2.5.2. Abstraction and fragmentation: Paul Yule [19]
2.5.3. Ambiguous symbolism: Nanno Marinatos and Eleanor Loughlin [21]
2.6. Positive identification in Aegean glyptic [22]
2.6.1. Resolving ambiguity: Ingo Pini [22]
2.6.2. What ambiguity? Artemis Onassoglou [24]
2.6.3. Quantifying ambiguity: Henri and Micheline van Effenterre [25]
2.6.4. Marginalising ambiguity: Michael Wedde [26]
2.6.5. Discussion  [26]
2.7. Intentional ambiguity outside glyptic [28]
2.7.1. Ambiguity in gender studies [28]
2.7.2. Slippery diplomacy [29]
2.7.3. Meaningful ambiguity [30]
2.7.4. Multivalency in LM II ceramic iconography [31]

3. Perceptual networks: exploring ambiguity in glyptic [33]

3.1. Introduction [33]
3.2. Objectivity and empiricism [33]
3.3. Unity and identification [36]
3.4. Authority and intention [37]
3.5. Semiotics and imagery [38]
3.5.1. Saussurean semiology and deconstruction [38]
3.5.2. Peircean icon, index, symbol [39]
3.6. Communicating through style [39]
3.7. Structure, structuration, agency [40]
3.8. Rhizomes and trees [42]
3.9. Aborescent structures and cultural conditioning [44]
3.10. Cognitive styles [44]
3.11. Perception of ambiguous, multi-stable images [46]

4. Two birds with one stone: analysis of two sealings from Ayia Triada [51]

4.1. Introduction [51]
4.2. Context [51]
4.2.1. Associative context [52]
4.2.2. Physical context [53]
4.3. Multivalency and the material characteristics of glyptic [54]
4.4. Image orientation and perceptual dominance [56]
4.5. Dismantling disciplinary scaffolding [64]
4.6. Birds and boats [65]
4.7. Fluid boundaries and multivalency [67]

5. Conclusions [75]

Bibliography [79] 


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