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ology in providing material for collective identification, however,
need not change. Yet, it should be detached from dominant social
groups and ideologies. Instead of offering deceptive images of a
singular past belonging to a supposedly homogeneous community,
we can serve society better if we provide people with the necessary
resources that will allow them to identify with the past they choose.
1 Witcomb 2003, p. 131-133; Witcomb 2006.
2 Macdonald 2003; Beier-de Haan 2006.
3 Trigger 1981; Kohl, Fawcett 1995a; Díaz-Andreu, Champion 1996; Thomas 2004;
Kaplan 2006.
4 Anderson 1983; Hobsbawm 1990.
5 Anderson 1983.
6 Thomas 2004, p. 103-104.
7 For the impact of geology on historical and archaeological methods, see Bennet 2004,
p. 44-49.
8 For the construction of archaeological narratives, see Silberman 1995.
9 Dyson 2006, p. 98-100; Hamilakis 2007.
10 Kohl, Fawcett 1995b, p. 9-10; Thomas 2004, p. 109-110.
11 For developments in archaeological theory during the twentieth century, see Johnson
2010.
12 For a discussion of those developments, see Silverman 1995, p. 258-261.
13 For public archaeology, see the recent collection of articles in Okamura, Matsuda 2011.
14 One of the several meanings of “theory”, Greek θεωρία, is “a point of view”, Abend
2008, p. 179-180; Joas, Knöbl 2009.
15 Zerubavel 2003; for the application of theories of agency in archaeology, see Dobres,
Fowler 2000.
16 For a review of recent research on human cognition and perception and its archaeological
applications, see Thomas 2004, p. 171-201.
17 See Casella, Fowler 2005; Insoll 2007.
18 The Museum of Cycladic Art was established in 1986. It has a large collection of
Ancient Greek Art, formed through donations by the founders of the museum, Nicholas
and Dolly Goulandris, other private collectors, public institutions, and through
purchases; for a history of the museum and its collection, see Papadimitriou 2007;
www.cycladic.gr.
19 For this exhibition, see http://www.cycladic.gr/frontoffice/portal.asp?cpage=NO
DE&cnode=72&clang=1.
20 For this exhibition, see http://www.cycladic.gr/frontoffice/portal.asp?cpage=NO
DE&cnode=240&clang=1.
21 For a critical review of both exhibitions, see Papalexandrou 2010.
22 For the various types of “context” relating to archaeological finds, see Boardman
2009. p. 120-123.
23 Bennet 1995; Lowenthal 1998.
24 Such as Europeana and Google Art Project, see http://www.europeana.eu/portal/
search.html?query=museum+of+cycladic+art, http://www.googleartproject.com/
25 You can access the MCA pages in various social networks through the following
links: http://www.facebook.com/CycladicArtMuseum?v=wall&viewas=0&ref=
mf, http://twitter.com/cycladic_museum, http://www.flickr.com/groups/816516@
N21/, http://www.youtube.com/user/MuseumOfCycladicArt, http://museumofcycladicart.tumblr.com/.
26 For this exhibition, see http://www.cycladic.gr/frontoffice/portal.asp?cpage=NO
DE&cnode=247&clang=1.
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