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Looks at megalithic sites and monuments in Great Britain
Shamans and shamanisms are in vogue at present. In popular culture, such diverse characters as occultist Aleister Crowley, Doors musician Jim Morrison and performance artist Joseph Beuys have been termed shamans. The anthropological construct 'shamanism', on the other hand, has associations with sorcery, witchcraft and healing, and archaeologists have suggested the meaning of prehistoric cave art lies with shamans and altered consciousness. Robert J. Wallis explores the interface between 'new' (modern western), indigenous and prehistoric shamans, and assesses the implications for archaeologists, anthropologists, indigenous communities, heritage managers, and neo-Shamanic practitioners. Identifying key figures in neo-Shamanisms, including Mircea Eliade, Carlos Castaneda and Michael Harner, Wallis assesses the way in which 'traditional' practices have been transformed into 'western' ones, such as Castaneda's Don Juan teachings and Harner's core shamanism. The book draws on interviews and self-reflective insider ethnography with a variety of practitioners, particularly contemporary pagans in Britain and north America from druid and heathen traditions, to elucidate what shamans do.; Wallis looks at historical and archaeological sources to elucidate whether 'Celtic' and 'northern' shamanism may have existed; he explores contemporary pagan engagements with prehistoric sacred sites such as Stonehenge and Avebury, and discusses the controversial use by neo-Shamans of indigenous (particularly native American) shamanism. Rather than discuss neo-Shamans as inauthentic, invalid culture-stealers, Wallis offers a more detailed and complex appraisal. He makes it clear that scholars must be prepared to give up some of their hold over knowledge, and not only be aware of these neo-Shamanic approaches but also engage in a serious dialogue with such 'alternative' histories.
This book sets out to explore the connections between megalithic monuments and Rock 'n' Roll music by first addressing what the megalithic structures would have originally meant to the builders and users of these sites and at the statements they were making at that time. It then looks at how Rock 'n' Roll artists have incorporated images of these monuments into album cover designs by looking at specific examples, in an attempt to understand why, despite being separated by millennia from the original builders, they chose to use such places to represent the statements they are making through their music in the late 20th and early 21st centuries.
THE PREHISTORIC PEAK is a practical guide to discovering and exploring the Neolithic and Bronze Age monuments of the Peak District, not with the intention of explaining their origins, but to encourage everyone to go and see them for themselves as they are today. After all, they are located in some of the most spectacular landscapes available to us in Britain today and make fascinating destinations for journeys that are about experiencing all the wonders of the world around us. Each site has been personally visited by the author and is described through photographs, ground plans of what can be seen today, custom maps with step-by-step, clear, concise directions on how to find each one and all the necessary GPS and OS grid references. It also includes practical advice on how to make your exploration of the Prehistoric Peak as pleasurable and safe as possible.
This text presents a comprehensive and up-to-date reference work on popular music, from the early 20th century to the present day.
Introduces undergraduates to the key debates regarding space and culture and the key theoretical arguments which guide cultural geographical work. This book addresses the impact, significance, and characteristics of the 'cultural turn' in contemporary geography. It focuses on the development of the cultural geography subdiscipline and on what has made it a peculiar and unique realm of study. It demonstrates the importance of culture in the development of debates in other subdisciplines within geography and beyond. In line with these previous themes, the significance of space in the production of cultural values and expressions is also developed. Along with its timely examination of the health of the cultural geographical subdiscipline, this book is to be valued for its analysis of the impact of cultural theory on studies elsewhere in geography and of ideas of space and spatiality elsewhere in the social sciences.
Includes section "Reviews."

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