The papers published here are dedicated to the memory of Ellen N. Davis, one of the most valued and beloved Aegean scholars of her generation. All of the articles are in some way inspired or influenced by Davis' own contributions to the field. In the area of metalwork, several papers investigate interconnections within and around the Aegean during the Early, Middle, and Late Bronze Ages (Betancourt, Ferrence, and Muhly, Weingarten, Kopcke), while others examine metal ware in its social context (Wiener). Papers on wall painting range from studies of pigments and optical illusions (Vlachopoulos), to representations of water (Shank). Anthropomorphic representations, or their absence, of goddesses or priestesses (Jones), rulers (Palaima), or initiates (Koehl) are also studied here with new eyes and fresh insights.

Offers an innovative theory for ancient art and its creativity, demonstrated through the rich material and visual culture of the protohistoric Aegean.

A general introduction to the art and architecture of Greece, the Cycladic islands and Crete, from c.3300 - 1000 BC. The authors have been highly selective in their choice of sites and objects, providing key examples which illustrate the clearly written text. They emphasize the importance of context and the complexities of meaning and function of objects within different environments and situations, and through time. A book geared more to the interested reader and students embarking on Aegean courses, than serious scholars who will already be familiar with the content.

The Greek Bronze Age, roughly 3000 to 1000 BCE, witnessed the flourishing of the Minoan and Mycenean civilizations, the earliest expansion of trade in the Aegean and wider Mediterranean Sea, the development of artistic techniques in a variety of media, and the evolution of early Greek religious practices and mythology. The period also witnessed a violent conflict in Asia Minor between warring peoples in the region, a conflict commonly believed to be the historical basis for Homer's Trojan War. The Oxford Handbook of the Bronze Age Aegean provides a detailed survey of these fascinating aspects of the period, and many others, in sixty-six newly commissioned articles. Divided into four sections, the handbook begins with Background and Definitions, which contains articles establishing the discipline in its historical, geographical, and chronological settings and in its relation to other disciplines. The second section, Chronology and Geography, contains articles examining the Bronze Age Aegean by chronological period (Early Bronze Age, Middle Bronze Age, Late Bronze Age). Each of the periods are further subdivided geographically, so that individual articles are concerned with Mainland Greece during the Early Bronze Age, Crete during the Early Bronze Age, the Cycladic Islands during the Early Bronze Age, and the same for the Middle Bronze Age, followed by the Late Bronze Age. The third section, Thematic and Specific Topics, includes articles examining thematic topics that cannot be done justice in a strictly chronological/geographical treatment, including religion, state and society, trade, warfare, pottery, writing, and burial customs, as well as specific events, such as the eruption of Santorini and the Trojan War. The fourth section, Specific Sites and Areas, contains articles examining the most important regions and sites in the Bronze Age Aegean, including Mycenae, Tiryns, Pylos, Knossos, Kommos, Rhodes, the northern Aegean, and the Uluburun shipwreck, as well as adjacent areas such as the Levant, Egypt, and the western Mediterranean. Containing new work by an international team of experts, The Oxford Handbook of the Bronze Age Aegean represents the most comprehensive, authoritative, and up-to-date single-volume survey of the field. It will be indispensable for scholars and advanced students alike.

This textbook is a compilation of the author's more than 35 years of teaching and excavation experience in the field of Aegean Bronze Age art history and archaeology. It is geared toward an audience of undergraduate and graduate students as an introduction to the Bronze Age art objects and architecture that have been uncovered on Crete, the Greek peninsula, and the Cycladic Islands.

Beginning his academic career in Classical Studies, John G. Younger rapidly extended his expertise into prehistoric (Bronze Age) Aegean archaeology, art and architecture, with a particular focus on ancient stone-working... and from this interest came his seminal studies on the iconography of Bronze Age Aegean stone seals, a field on which he has made an indelible mark. He also branched out into Jewish Studies, becoming an expert on early synagogues. His lifelong activism for LGBTQI+ and minority rights, and his early embrace of feminism and the crucial role that women have played in the past (not just in archaeology, but in the ancient world itself) have also informed his teaching and studies regarding ancient and modern notions about gender and sexuality, and these studies have greatly enriched our views of the ancient world, while going a long way toward counteracting the persistently male-centric interpretations of the ancient world characteristic of the past few centuries. He has been a pioneer in the establishment of LGBTQI+ academic programs in the U.S., and in the integration of modern technologies (especially computers) into Classics and archaeology. He has established himself as an international authority on Linear A, the undeciphered writing system of the Minoans; his website containing the corpus of that script is second to none in terms of its value to scholars working on Linear A. His recent and continuing investigations into the identification of prehistoric Aegean myths promises to add yet another facet to what is already a brilliant diamond of a career.

Since the earliest era of archaeological discovery on Crete, vivid renderings of animals have been celebrated as defining elements of Minoan culture. Animals were crafted in a rich range of substances and media in the broad Minoan world, from tiny seal-stones to life-size frescoes. In this study, Emily Anderson fundamentally rethinks the status of these zoomorphic objects. Setting aside their traditional classification as 'representations' or signs, she recognizes them as distinctively real embodiments of animals in the world. These fabricated animals-engaged with in quiet tombs, bustling harbors, and monumental palatial halls-contributed in unique ways to Bronze Age Aegean sociocultural life and affected the status of animals within people's lived experience. Some gave new substance and contour to familiar biological species, while many exotic and fantastical beasts gained physical reality only in these fabricated embodiments. As real presences, the creatures that the Minoans crafted artfully toyed with expectation and realized new dimensions within and between animalian identities.