Eduardo Palacio-Pérez
Biographic Data
| ID | 204919 |
|---|---|
| NAME | Eduardo Palacio-Pérez |
| GIVEN NAMES | Eduardo |
| FAMILY NAME | Palacio-Pérez |
| SIGNATURE | PALACIO-PÉREZ E |
| ORCID | 0000-0002-5427-0618 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 19 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 3 |
Dialogues Across Time? Conceptualising the Temporal Relationships of Palimpsests in the Upper Palaeolithic Cave Art of El Castillo (Cantabria, Spain)
Cave sites were frequently reused throughout the Upper Palaeolithic, with many sites within south-western Europe having deep chronologies of activity. The repeated engagement with the same caves, or spaces within caves, is evident in superimpositions of cave art depictions within these sites. Whilst these palimpsests in Upper Palaeolithic cave art have been extensively studied with regard to understanding the relative chronology of art within a p…
Beyond images
In this study of the location and physical characteristics of the surroundings of a series of decorated caves in the Nalón river basin in Asturias (northern Iberia), the spatial analysis, which included fieldwork and the use of GIS, has defined the external archaeological context (EAC) of pre-Magdalenian art in that area. The spatial information has been integrated with the study of the rock art in order to observe tendencies that are statistical…
Rethinking the Structural Analysis of Palaeolithic Art
André Leroi-Gourhan's work is usually considered a paradigmatic example of the application of structuralist ideas to the study of Palaeolithic art. The association between Leroi-Gourhan and structuralism is, however, problematic. Leroi-Gourhan explicitly distinguished his approach from that of Lévi-Strauss. Furthermore, he developed an explanatory model for the analysis of cave and portable art based on a number of postulates that were not necess…
Ciencia y creencia en la construcción del concepto de religión paleolítica
The study of prehistory established itself as a scientific discipline during the second half of the nineteenth century. The main issues discussed by this new science centered on the origins of humankind, society, technology, art and religion; this intellectual process of the creation of ideas, concepts and categories was projected on the archaeological finds. When archaeological evidence was found that could be interpreted as proof of the existen…
Imaginary creatures in Palaeolithic art
In the course of research currently being carried out at Santimamine (Bizkaia, Spain) (Gonz'alez S'ainz & Idarraga 2010) and Altxerri (Gipuzkoa, Spain) a series of zoomorphic figures have been identified (four in total between the two sites) that represent creatures that do not exist in nature (Figure 1). They are examples of the so-called 'imaginary creatures', unreal or fantastic beings that appear in Palaeolithic art ensembles. Despite their r…
The Origins of the Concept of ‘Palaeolithic Art’
Salomon Reinach and the religious interpretation of Palaeolithic art
When did upper Palaeolithic cave art come to be thought of as religious? The author shows an origin rooted in the intellectual movements of the later nineteenth century, and in particular in the personage and thought of Salomon Reinach
The Origins of the Concept of ‘Palaeolithic Art’
Rethinking the Structural Analysis of Palaeolithic Art
André Leroi-Gourhan's work is usually considered a paradigmatic example of the application of structuralist ideas to the study of Palaeolithic art. The association between Leroi-Gourhan and structuralism is, however, problematic. Leroi-Gourhan explicitly distinguished his approach from that of Lévi-Strauss. Furthermore, he developed an explanatory model for the analysis of cave and portable art based on a number of postulates that were not necess…
Beyond images
In this study of the location and physical characteristics of the surroundings of a series of decorated caves in the Nalón river basin in Asturias (northern Iberia), the spatial analysis, which included fieldwork and the use of GIS, has defined the external archaeological context (EAC) of pre-Magdalenian art in that area. The spatial information has been integrated with the study of the rock art in order to observe tendencies that are statistical…
Ciencia y creencia en la construcción del concepto de religión paleolítica
The study of prehistory established itself as a scientific discipline during the second half of the nineteenth century. The main issues discussed by this new science centered on the origins of humankind, society, technology, art and religion; this intellectual process of the creation of ideas, concepts and categories was projected on the archaeological finds. When archaeological evidence was found that could be interpreted as proof of the existen…
Salomon Reinach and the religious interpretation of Palaeolithic art
When did upper Palaeolithic cave art come to be thought of as religious? The author shows an origin rooted in the intellectual movements of the later nineteenth century, and in particular in the personage and thought of Salomon Reinach
The Origins of the Concept of ‘Palaeolithic Art’
Ciencia y creencia en la construcción del concepto de religión paleolítica
The study of prehistory established itself as a scientific discipline during the second half of the nineteenth century. The main issues discussed by this new science centered on the origins of humankind, society, technology, art and religion; this intellectual process of the creation of ideas, concepts and categories was projected on the archaeological finds. When archaeological evidence was found that could be interpreted as proof of the existen…
Imaginary creatures in Palaeolithic art
In the course of research currently being carried out at Santimamine (Bizkaia, Spain) (Gonz'alez S'ainz & Idarraga 2010) and Altxerri (Gipuzkoa, Spain) a series of zoomorphic figures have been identified (four in total between the two sites) that represent creatures that do not exist in nature (Figure 1). They are examples of the so-called 'imaginary creatures', unreal or fantastic beings that appear in Palaeolithic art ensembles. Despite their r…
Rethinking the Structural Analysis of Palaeolithic Art
André Leroi-Gourhan's work is usually considered a paradigmatic example of the application of structuralist ideas to the study of Palaeolithic art. The association between Leroi-Gourhan and structuralism is, however, problematic. Leroi-Gourhan explicitly distinguished his approach from that of Lévi-Strauss. Furthermore, he developed an explanatory model for the analysis of cave and portable art based on a number of postulates that were not necess…
Beyond images
In this study of the location and physical characteristics of the surroundings of a series of decorated caves in the Nalón river basin in Asturias (northern Iberia), the spatial analysis, which included fieldwork and the use of GIS, has defined the external archaeological context (EAC) of pre-Magdalenian art in that area. The spatial information has been integrated with the study of the rock art in order to observe tendencies that are statistical…
Dialogues Across Time? Conceptualising the Temporal Relationships of Palimpsests in the Upper Palaeolithic Cave Art of El Castillo (Cantabria, Spain)
Cave sites were frequently reused throughout the Upper Palaeolithic, with many sites within south-western Europe having deep chronologies of activity. The repeated engagement with the same caves, or spaces within caves, is evident in superimpositions of cave art depictions within these sites. Whilst these palimpsests in Upper Palaeolithic cave art have been extensively studied with regard to understanding the relative chronology of art within a p…
Archaeology (6 works) · Archaeology and Rock Art Studies (6 works) · History (6 works) · Pleistocene-Era Hominins and Archaeology (6 works) · Art (5 works) · Archaeology and ancient environmental studies (4 works) · History (4 works) · Philosophy (4 works) · Cave (3 works) · Epistemology (3 works)