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more from the lady herself
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{{short description|British archaeologist}}
{{short description|British archaeologist}}


'''Stephanie Moser PhD''' is an archaeology professor and head of the department at the [[University of Southampton]], England. Her work explores the exhibition and reception of the human past. As a pioneer in the field of archaeological representation, Moser's research demystifies the power of visual images from antiquity through the lens of modern [[anthropology]].
'''Stephanie Moser PhD''' is an archaeology professor and head of the department at the [[University of Southampton]], England. Her work explores the exhibition and reception of the human past. As a pioneer in the field of archaeological representation, Moser's research demystifies the power of visual images from antiquity through the lens of modern [[anthropology]].


== Education ==
== Education ==
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Establishing archaeological representation as a research field within anthropology was Moser's first major research enterprise. For "The visual language of archaeology: a case study of the Neanderthals," she investigated how one artist's depiction of [[Homo Sapiens]] [[Neanderthal]]ensis single-handedly forged our modern impression of the species.<ref>{{Cite journal|last=Tacon, Chippindale|first=Paul, Christopher|date=1994|title=Australia's Ancient Warriors: Depictions of Fighting in the Rock Art of Arnhem Land, N.T.|url=|journal=Cambridge Archaeological Journal|volume=4.2|pages=211–248|via=AnthroSource}}</ref>
Establishing archaeological representation as a research field within anthropology was Moser's first major research enterprise. For "The visual language of archaeology: a case study of the Neanderthals," she investigated how one artist's depiction of [[Homo Sapiens]] [[Neanderthal]]ensis single-handedly forged our modern impression of the species.<ref>{{Cite journal|last=Tacon, Chippindale|first=Paul, Christopher|date=1994|title=Australia's Ancient Warriors: Depictions of Fighting in the Rock Art of Arnhem Land, N.T.|url=|journal=Cambridge Archaeological Journal|volume=4.2|pages=211–248|via=AnthroSource}}</ref>


As an [[Egyptologist]], Moser has investigated how Ancient Egypt is represented to 19th century England.<ref>{{Cite web|url=https://www.academia.edu/35663759/Moser_S._2012._Designing_Antiquity_Owen_Jones_Ancient_Egypt_and_the_Crystal_Palace._Yale_University_Press|last=|first=|date=|title=Designing Antiquity: Owen Jones, Ancient Egypt and the Crystal Palace.|archive-url=|archive-date=|dead-url=|access-date=}}</ref> In 2002, she was the leader of an effort to solicit meaningful work from, and collude with, indigenous populations in the archaeology of their culture.<ref>{{Cite book|title=Archaeological Theory: An Introduction|last=Johnson|first=Matthew|publisher=Wiley-Blackwell|year=2010|isbn=9781444360417|location=|pages=}}</ref> In "Transforming Archaeology Through Practice: Strategies for Collaborative Archaeology and the Community at Quseir, Egypt," Moser outlines the respectful, inclusive methods archaeologists should use when excavating people's heritage.<ref>{{Cite book|title=Embedding Ethics|last=Meskell, Pels|first=Lynn., Peter|publisher=Oxford|year=2005|isbn=1845200470|location=|pages=}}</ref> The goal there was threefold: practice archaeology, bolster resident's self-identity, and establish a cultural center. The endeavor was inspired by Moser's training with Australia's [[Indigenous peoples|indigenous people.]]
Since the late 1990s Moser has investigated how Ancient Egypt has been represented in 19th century England.<sup>[[Stephanie Moser#cite%20note-6|[6]]]</sup> In addition to this, in 2002, she published an important paper on how to collaborate with indigenous populations in the presentation of their cultural heritage.<sup>[[Stephanie Moser#cite%20note-7|[7]]]</sup> In "Transforming Archaeology Through Practice: Strategies for Collaborative Archaeology and the Community at Quseir, Egypt," Moser and her colleagues outlined, inclusive methods archaeologists should adopt when investigating people's heritage.<sup>[[Stephanie Moser#cite%20note-8|[8]]]</sup>  This endeavor was inspired by Moser's training in Australia which involved working with Australia's [[Indigenous peoples|indigenou]]


Other research deals with how the mechanisms of museum displays contribute to knowledge.<ref>{{Cite journal|last=De Cesari|first=Chiara|date=2017|title=The Devil is in the Detail: Museum Displays and the Creation of Knowledge|url=|journal=Museum Anthropology|volume=40.1|pages=18–35|via=AnthroSource}}</ref> She addresses the interplay of exhibition analysis, art collecting, and archaeological representation.<ref>{{Cite journal|last=Moser|first=Stephanie|date=2010|title=The Devil is in the Detail: Museum Displays and the Creation of Knowledge|url=|journal=Museum Anthropology|volume=33(1)|pages=22–32|via=AnthroSource}}</ref> Moser's 2010 report on the subject, The Devil is in the Detail, has been well received, frequently cited and its methods widely implemented.<ref>{{Cite journal|last=Driver|first=Felix|date=2012|title=Hidden histories made visible? Reflections on a geographical exhibition|url=|journal=Transactions of the Institute of British Cartographers|volume=38:3|pages=|via=Wiley Online Library}}</ref><br />In 2019, Moser was investigating the roots of [[archaeological illustration]] at the Society of Antiquaries of London and how it was used to facilitate their research ventures.<ref>{{Cite web|url=http://soton.edu/StephanieMoser|title=Stephanie Moser|last=|first=|date=|website=|archive-url=|archive-date=|dead-url=|access-date=}}</ref> Moser was also researching Egyptologist and artist [[Joseph Bonomi the Younger|Joseph Bonomi]] and the ways he contributed to our understanding of ancient Egypt.
Other research deals with how the mechanisms of museum displays contribute to knowledge.<ref>{{Cite journal|last=De Cesari|first=Chiara|date=2017|title=The Devil is in the Detail: Museum Displays and the Creation of Knowledge|url=|journal=Museum Anthropology|volume=40.1|pages=18–35|via=AnthroSource}}</ref> She addresses the interplay of exhibition analysis, art collecting, and archaeological representation.<ref>{{Cite journal|last=Moser|first=Stephanie|date=2010|title=The Devil is in the Detail: Museum Displays and the Creation of Knowledge|url=|journal=Museum Anthropology|volume=33(1)|pages=22–32|via=AnthroSource}}</ref> Moser's 2010 report on the subject, The Devil is in the Detail, has been well received, frequently cited and its methods widely implemented.<ref>{{Cite journal|last=Driver|first=Felix|date=2012|title=Hidden histories made visible? Reflections on a geographical exhibition|url=|journal=Transactions of the Institute of British Cartographers|volume=38:3|pages=|via=Wiley Online Library}}</ref><br />In 2019, Moser was investigating the roots of [[archaeological illustration]] at the Society of Antiquaries of London and how it was used to facilitate their research ventures.<ref>{{Cite web|url=http://soton.edu/StephanieMoser|title=Stephanie Moser|last=|first=|date=|website=|archive-url=|archive-date=|dead-url=|access-date=}}</ref> Moser was also researching Egyptologist and artist [[Joseph Bonomi the Younger|Joseph Bonomi]] and the ways he contributed to our understanding of ancient Egypt.

Revision as of 09:50, 11 June 2019

Stephanie Moser PhD is an archaeology professor and head of the department at the University of Southampton, England. Her work explores the exhibition and reception of the human past. As a pioneer in the field of archaeological representation, Moser's research demystifies the power of visual images from antiquity through the lens of modern anthropology.

Education

In 1995, Moser was awarded a Ph.D in archaeology from the University of Sydney, with a thesis is entitled Archaeology and its disciplinary culture. The Professionalisation of Australian Archaeology.

Her B.A., with Honors, first class. was completed in 1989 at La Trobe University, Melbourne.

Career

Since 1995 Moser has been a professor of archaeology at the University of Southampton, England. Moser is a member of the Society of Antiquaries of London.[1] She served as Council Member for the Society of Antiquaries from 2013 to 2016 and has been on the Board of Trustees, Antiquary Trust since 2014.

Moser's work includes overseeing multiple PhD students as primary supervisor. As of 2019, sixteen PhD students had graduated under her primary supervision.

Research

For her thesis, Archaeology and its Disciplinary Culture: The Professionalization of Australia's Prehistoric Archaeology, Moser describes how professional archaeologists used their newfound methods and culture to exclude amateurs from their trade.[2] Archaeologists, according to Moser's thesis, need to going into "the field" to become "real" archaeologists.[3]

Establishing archaeological representation as a research field within anthropology was Moser's first major research enterprise. For "The visual language of archaeology: a case study of the Neanderthals," she investigated how one artist's depiction of Homo Sapiens Neanderthalensis single-handedly forged our modern impression of the species.[4]

Since the late 1990s Moser has investigated how Ancient Egypt has been represented in 19th century England.[6] In addition to this, in 2002, she published an important paper on how to collaborate with indigenous populations in the presentation of their cultural heritage.[7] In "Transforming Archaeology Through Practice: Strategies for Collaborative Archaeology and the Community at Quseir, Egypt," Moser and her colleagues outlined, inclusive methods archaeologists should adopt when investigating people's heritage.[8]  This endeavor was inspired by Moser's training in Australia which involved working with Australia's indigenou

Other research deals with how the mechanisms of museum displays contribute to knowledge.[5] She addresses the interplay of exhibition analysis, art collecting, and archaeological representation.[6] Moser's 2010 report on the subject, The Devil is in the Detail, has been well received, frequently cited and its methods widely implemented.[7]
In 2019, Moser was investigating the roots of archaeological illustration at the Society of Antiquaries of London and how it was used to facilitate their research ventures.[8] Moser was also researching Egyptologist and artist Joseph Bonomi and the ways he contributed to our understanding of ancient Egypt.

Select Publications

Books

2019. Painting Antiquity. Ancient Egypt in the art of Lawrence Alma-Tadema, Edward Poynter and Edwin Long. New York: Oxford University Press.

2012. Designing Antiquity. Owen Jones, Ancient Egypt and the Crystal Palace. London: Yale University Press.

2006. Wondrous Curiosities. Ancient Egypt at the British Museum Chicago: Chicago University Press.

2005.(with Sam Smiles) Envisioning the Past. Oxford: Blackwell.

2004. (with Simon Keay) Greek Art in View. Oxford: Oxbow.

1998. Ancestral Images. The iconography of human antiquity. Ithaca: Cornell.

Chapters

2017.  The Ephemera of Art: framing knowledge through backgrounds and accessories. In S. Bardaouil, S. Evren, T. Fellrath (eds) Ways of Seeing. Istanbul: Arter, pp. 140–147.

2016.  Archaeology and Ancient Egypt. In E. Prettejohn and P. Trippi (eds.) Alma Tadema

Articles

2018. An aura of antiquity: archaeology and the ancient world in Alma-Tadema’s studio-homes. British Art Studies 9 online https://doi.org/10.17658/issn.2058-5462/issue-09/conversation/003

2015. Reconstructing ancient worlds: Reception studies, archaeological representation and the interpretation of ancient Egypt.  Journal of Archaeological Method and Theory 22(4):1263–1308.

2014. Making Expert Knowledge Through the Image: connections between antiquarian and early modern scientific illustration.  Isis (History of Science) 105:58-99.

2010. (with S. Atalay, D. Camurcroglu-Cleere, I. Hodder, A. Orbasli, E. Pye) Protecting and exhibiting Catalhoyuk.  Tüba-Ked, Turkish Academy of Sciences Journal of Cultural Inventory 8:155-166.

2010.  The devil is in the detail. Museum displays and the creation of knowledge.  Museum Anthropology 2010, 33(1):22-32.

2007.  On disciplinary culture. Archaeology as fieldwork and its gendered associations.  Journal of Archaeology Method and Theory 14(3):235-263.

2003.  Representing human origins: constructing knowledge in museums and dismantling the display canon. Public Archaeology 3:3-20.

2002.  Transforming archaeology through practice. The Community Archaeology Project at Quseir, Egypt.  World Archaeology 34(2):220-248.

1996.   Science, stratigraphy and the deep sequence: excavation versus regional survey and the question of gendered practice in archaeology. Antiquity 70(270):813-23.

1993.   Picturing the Prehistoric. Metascience 4:58-67.

1992.   Visions of the Australian Pleistocene: Prehistoric Life at Lake Mungo and Kutikina.  Australian Archaeology 35:1-10.

1992.   The visual language of archaeology: a case study of the Neanderthals. Antiquity 66:831-44.

Book chapters

2017.  The Ephemera of Art: framing knowledge through backgrounds and accessories. In S. Bardaouil, S. Evren, T. Fellrath (eds) Ways of Seeing. Istanbul: Arter, pp. 140–147.

2016.  Archaeology and Ancient Egypt. In E. Prettejohn and P. Trippi (eds.) Alma Tadema

References

  1. ^ "Fellows Directory - Society of Antiquaries". www.sal.org.uk. Retrieved 19 May 2019.
  2. ^ Patterson, Thomas C. (1999). "The Political Economy of Archaeology in the United States". Annual Review of Anthropology. 28: 155–174.
  3. ^ Holtorf, Cornelius (2004). "Doing Archaeology in Popular Culture". The Interplay of Past and Present.
  4. ^ Tacon, Chippindale, Paul, Christopher (1994). "Australia's Ancient Warriors: Depictions of Fighting in the Rock Art of Arnhem Land, N.T.". Cambridge Archaeological Journal. 4.2: 211–248 – via AnthroSource.{{cite journal}}: CS1 maint: multiple names: authors list (link)
  5. ^ De Cesari, Chiara (2017). "The Devil is in the Detail: Museum Displays and the Creation of Knowledge". Museum Anthropology. 40.1: 18–35 – via AnthroSource.
  6. ^ Moser, Stephanie (2010). "The Devil is in the Detail: Museum Displays and the Creation of Knowledge". Museum Anthropology. 33(1): 22–32 – via AnthroSource.
  7. ^ Driver, Felix (2012). "Hidden histories made visible? Reflections on a geographical exhibition". Transactions of the Institute of British Cartographers. 38:3 – via Wiley Online Library.
  8. ^ "Stephanie Moser". {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)



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