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Publisher: Equinox Publishing   (Total: 30 journals)   [Sort by number of followers]

Showing 1 - 30 of 30 Journals sorted alphabetically
Australian Religion Studies Review     Hybrid Journal   (Followers: 5)
Buddhist Studies Review     Hybrid Journal   (Followers: 11, SJR: 0.101, CiteScore: 0)
Bulletin for the Study of Religion     Hybrid Journal   (Followers: 15)
Communication & Medicine     Hybrid Journal   (Followers: 4, SJR: 0.167, CiteScore: 0)
Comparative Islamic Studies     Hybrid Journal   (Followers: 15)
Fieldwork in Religion     Hybrid Journal   (Followers: 14, SJR: 0.101, CiteScore: 0)
Gender and Language     Hybrid Journal   (Followers: 13, SJR: 0.184, CiteScore: 0)
Health and Social Care Chaplaincy     Hybrid Journal   (Followers: 9)
Implicit Religion     Hybrid Journal   (Followers: 2, SJR: 0.1, CiteScore: 0)
Intl. J. of Speech Language and the Law     Hybrid Journal   (Followers: 9, SJR: 0.285, CiteScore: 1)
J. for Research into Freemasonry and Fraternalism     Hybrid Journal  
J. for the Cognitive Science of Religion     Full-text available via subscription   (Followers: 8)
J. for the Study of Religion, Nature and Culture     Hybrid Journal   (Followers: 10, SJR: 0.236, CiteScore: 0)
J. of Cognitive Historiography     Full-text available via subscription   (Followers: 3)
J. of Contemporary Archaeology     Full-text available via subscription   (Followers: 4, SJR: 0.517, CiteScore: 1)
J. of Glacial Archaeology     Full-text available via subscription  
J. of Interactional Research in Communication Disorders     Hybrid Journal   (Followers: 6)
J. of Islamic Archaeology     Full-text available via subscription   (Followers: 4)
J. of Mediterranean Archaeology     Hybrid Journal   (Followers: 23, SJR: 0.699, CiteScore: 1)
J. of Research Design and Statistics in Linguistics and Communication Science     Full-text available via subscription   (Followers: 3)
J. of World Popular Music     Full-text available via subscription   (Followers: 5, SJR: 0.144, CiteScore: 0)
Jazz Research J.     Hybrid Journal   (Followers: 5)
PentecoStudies: An Interdisciplinary J. for Research on the Pentecostal and Charismatic Movements     Hybrid Journal   (Followers: 3, SJR: 0.134, CiteScore: 0)
Perfect Beat     Hybrid Journal   (Followers: 3, SJR: 0.192, CiteScore: 0)
Pomegranate : The Intl. J. of Pagan Studies     Hybrid Journal   (Followers: 6, SJR: 0.111, CiteScore: 0)
Popular Music History     Hybrid Journal   (Followers: 13)
Religions of South Asia     Hybrid Journal   (Followers: 9, SJR: 0.1, CiteScore: 0)
Religious Studies and Theology     Hybrid Journal   (Followers: 7, SJR: 0.111, CiteScore: 0)
Sociolinguistic Studies     Hybrid Journal   (Followers: 2, SJR: 0.152, CiteScore: 0)
Writing & Pedagogy     Hybrid Journal   (Followers: 10)
Journal Cover
Journal of Contemporary Archaeology
Journal Prestige (SJR): 0.517
Citation Impact (citeScore): 1
Number of Followers: 4  
  Full-text available via subscription Subscription journal
ISSN (Print) 2051-3429 - ISSN (Online) 2051-3437
Published by Equinox Publishing Homepage  [30 journals]
  • Beyond Art/Archaeology: Research and Practice after the ‘Creative
    • This forum aims to go beyond the usual art/archaeology discussions to explore the possibilities – and challenges - for work which might push beyond what is traditionally accepted as either art or archaeology. The articles comprise a diverse range of responses from academics and practitioners working creatively with heritage—in its broadest sense—from a range of disciplinary perspectives. This introduction sets these responses into context through the discussion of several interlinked themes - interdisciplinarity, practice, participation, and relevance - which surface throughout the forum.2018-02-02T11:58:54Z
      DOI: 10.1558/jca.33150
      Issue No: Vol. 4, No. 2 (2018)
  • Entangled Concepts and Participatory Practices across Archaeology,
           Heritage and Art
    • This forum response questions the 'creative turn' in archaeology with specific reference to the work of the Archaeology/Heritage/Art Research Network - a loose constellation of academics, artists, events and activities which aims to interrogate the cross-fertilisation of these fields. Focusing on the historical example of the 'conversazione' as a model for participatory debate and practice across different disciplines, the paper argues for more grounded interactions between artists and archaeologists in the light of their increasing conceptual and methodological entanglement.2018-02-02T11:59:28Z
      DOI: 10.1558/jca.32354
      Issue No: Vol. 4, No. 2 (2018)
  • On Rotating Positions in Archaeology, Art, and Architecture: Grindbakken
    • This article questions the usefulness of new container labels like ‘creative archaeology’ to denominate practices beyond more traditional understandings of art or archaeology. Such new labels risk to smooth out the differences between practices that take different positions in one of the many possible interfaces between art and archaeology. Terminology that does not provoke resistance because it masks disciplinary differences is less interesting than a variegated discourse that allows to reflect critically on the different epistemic and aesthetic stakes and merits among ‘creative practices’ in art/archaeology and that can help to make these practices reflexive. A case is made for acknowledging the professional mobility of disciplinary attitudes while retaining the critical frameworks of distinct disciplinary fields. Such mobility is explored in the case of the in situ Grindbakken exhibition by Belgian architecture collective Rotor.2018-02-02T12:00:00Z
      DOI: 10.1558/jca.32413
      Issue No: Vol. 4, No. 2 (2018)
  • To Talk of Turns… Three Cross-Disciplinary Provocations for Creative
    • Who does not want to be creative? Geographers certainly do. Where the ‘creative turn’ has emerged on the horizon of a range of humanities disciplines, from archeology to anthropology, geographers have fully embraced its possibilities if perhaps not yet its challenges. In this short piece I want to use the emerging desires and dilemmas of geography’s creative turn to reflect on the shared currents and common concerns of the current cross-disciplinary communities of the creative turn. Asking in turn; what do our different disciplines offer to a wider creative turn, what might it mean to take into account the histories of our creative turns, and what would it mean to develop more critical accounts of ‘creativity’? this paper argues for the importance of developing a critical vocabulary for cross-disciplinary turn-talk.2018-02-02T12:00:45Z
      DOI: 10.1558/jca.32399
      Issue No: Vol. 4, No. 2 (2018)
  • Afield
    • Reflections on and approaches to interdisciplinary collaboration in archaeology, cultural geography and performance. With the outline of a potential methodology and proposals for practice that draw upon experiences of creative endeavours in the field and in which scholarly and artistic are combined; and with reference to a series of performative outcomes.2018-02-02T12:01:01Z
      DOI: 10.1558/jca.32247
      Issue No: Vol. 4, No. 2 (2018)
  • Archaeological Imprints: We Follow Lines And Trace Them
    • In this visual essay we discuss the role of creative practices in archaeology by examining the relationships between linotype printing and archaeological practices. We suggest that the two follow a shared trajectory: the way in which we interpret, follows and traces several kinds of interfaces. Our imprinted archaeology explores the implications of different acts of marking, cutting, and revealing the uncanny. Thus, we bring attention to the exchanges between us, as collaborators, but perhaps more significantly, the confluences between archaeology and creative practices by focusing on the similarities between the conceptual underpinnings of the archaeological process, such as excavation, though not exclusively, and the creative process of image-making, using linotype printing. We suggest that printing helps to bring attention to the idea that while archaeological excavation is an act of destruction, it is also a creative endeavour, full of possibilities as we follow and trace the lines that are created.2018-02-02T12:01:22Z
      DOI: 10.1558/jca.32338
      Issue No: Vol. 4, No. 2 (2018)
  • The Junk Drawer Project: Field Photography and the Construction of
    • In “The Junk Drawer Project”, I rely on assemblage photographs I created at a Caribbean archaeological site and in contemporary American homes, to interrogate how aesthetic mediation enters archaeological interpretations through such methodological practices as field photography, and how the visual media produced for field analyses themselves become sites upon which the archaeological imagination is constituted. By presenting the outcome of the Junk Drawer Project as a photo essay, I aim to offer a critical engagement with artifact photography based in the deliberate and attentive application to contemporary contexts of methodological practices developed for the study of the eighteenth and nineteenth century, in order to reveal the tensions between the sensorial properties of artifacts, the specific bearings of my technical training as an archaeologist, and the field of possible interpretations afforded by evidentiary regimes within which my work typically unfolds. Through the application of this methodology to my own scholarship and in-field practice, I also explore how archaeology’s unique contribution to our understanding of human experience in the context of transdisciplinary scholarship might contribute to a critical engagement with the “creative turn” in the humanities and social sciences. I argue that the practice of assemblage photography throws into relief how the tensions between archaeological scholarship, fieldwork and representation shape not only the constitution of “assemblages” into meaningfully discrete bundles of evidence, but also the very recording process through which traces of the past are made visible, and through which archaeologists are made visible to each-other and themselves as practitioners.2018-02-02T12:01:36Z
      DOI: 10.1558/jca.32421
      Issue No: Vol. 4, No. 2 (2018)
  • Setomonogatari – Ceramic Practice as an Archaeology of the
           Contemporary Past
    • I will argue that my creative ceramic practice has much in common with archaeological approaches to the contemporary past in that it takes the form of a “creative materialising intervention”, focusing on marginal or otherwise overlooked aspects of person-object interaction. This will be illustrated by reference to recent artworks made in Seto, Japan, a traditional centre of pottery production. By reanimating old moulds and repurposing discarded sherds, my work explores the site’s changing materiality through time and is itself a proactive contribution to the archaeological record, capturing an enduring glimpse of the past and present of this ceramics community.2018-02-02T12:02:04Z
      DOI: 10.1558/jca.32417
      Issue No: Vol. 4, No. 2 (2018)
  • Reverse Archaeology: Experiments in Carving and Casting Space
    • This photo-essay draws from a three-year collaboration—Site_Seal_Gesture (2013–2016)—between archaeologist Lia Wei and geographer Rupert Griffiths. The initial point of departure was a reflection on the use of creative practice in our respective academic fields, and our shared interest in the relationship between time, materiality, and the human subject. This quickly developed into a shared discursive and artistic practice. Building blocks for a common language emerged through sketch dialogues and shared itineraries, which made connections between abandoned military defence architectures on the southeast coast of the UK and second-century rock-cut tombs in Southwest China. Speculative connections between past, present, and future were drawn out and deposited in models cast in plaster and life-size replicas carved in chalk or stone. Through the entwined actions of dwelling and making, the creative manipulation of archaeological materials constructs a unique tunnel between marginal landscapes and multiple temporalities.2018-02-02T12:02:25Z
      DOI: 10.1558/jca.32392
      Issue No: Vol. 4, No. 2 (2018)
  • Buildings Archaeology Without Recording
    • This short paper outlines the development and operation of a workshop series called Buildings Archaeology Without Recording. The workshops are an experiment in an artistically-inspired site-specific archaeology, which has proven successful in public and local-political engagements with archaeological themes.2018-02-02T12:02:44Z
      DOI: 10.1558/jca.32422
      Issue No: Vol. 4, No. 2 (2018)
  • Šabac: A Cinematographic Archaeology'
    • Drawn from a longstanding collaboration between the authors, this contribution explores the common ground between filmmaking and archaeological investigation and in particular a shared interest in haptic experiences and the material properties of the world. This leads us to propose the use of the camera and the moving image it produces as valuable archaeological research tools. To illustrate this we present both a short film and brief discussion paper focusing on the Serbian town of Šabac as a Holocaust landscape and its link with a group of Jewish refugees known as the “Kladovo transport”. Based on this case study we aim to highlight the transformative potential of artistic interventions in archaeological questions, and indeed vice versa, to construct new modes of knowing.2018-02-02T12:02:58Z
      DOI: 10.1558/jca.32391
      Issue No: Vol. 4, No. 2 (2018)
  • Thinking Place – A Creative Exploration of Coastal Erosion
    • Wilder Being was a participatory art and archaeology project that aimed to set an understanding of coastal erosion of archaeological heritage within wider contexts of climate change and sustainability. Sub-titled Creation and destruction in the littoral zone, Wilder Being took place at an archaeological site on the shores of the island of Sanday in Orkney. Our place-based event explored, using art and archaeology techniques and narrative, this site of coastal erosion as a creative resource. The interdisciplinary collaboration highlighted the connectivity between arts, humanities and sciences as it highlighted the blurring of lines between land and sea, culture and nature. In this paper we reflect on the context and outcomes of Wilder Being project, how it has contributed to the dialogue around participatory and relational approaches to archaeology, and how we might re-think sites threatened by coastal erosion sites as sites for creative dialogue.2018-02-02T12:03:12Z
      DOI: 10.1558/jca.32394
      Issue No: Vol. 4, No. 2 (2018)
  • Towards a Post-Anthropocentric Speculative Archaeology (through Design)
    • As disciplines and practices archaeology and design stand in an interesting relationship to one another. Whereas it is the business of designers to construct material and, at times, immaterial universes that can sustain life (or, as we shall see, destroy life), it is the business of archaeologists, in the traditional sense of the word, to look at the remnants of those universes and the traces of those who populated them in order to understand the past and the ways in which it resonates in the present and in our conception of our possible futures.

      This leads us to pose the following question: If an intimate relationship can be located at the interstitial space between archaeology and design, what might happen if we were to construct transversal lines between and across these disciplines, and what concepts would be required for us to do so?

      Drawing upon the concept of the Anthropocene – a concept opening up to precisely such transdisciplinary and transversal approaches – this article explores the notion of a post-anthropocentric speculative archaeology interweaving a theoretical line of thought and a performative, fictive trajectory.2018-02-02T12:03:31Z
      DOI: 10.1558/jca.32442
      Issue No: Vol. 4, No. 2 (2018)
  • Art/Archaeology: What Value Artistic- Archaeological Collaboration'
    • Recent work by artists and archaeologists has explored the potential for collaboration between the two disciplines. While much aesthetically pleasing and intellectually stimulating work has emerged, most output remains limited in its extramural impact. This short note argues for a more robust practice though an art/archaeology, a practice that goes beyond the limits of the archaeological study of prehistoric, ancient or historic art, but engages modern and contemporary political and social action. At the core of an art/archaeology are three successive processes: disarticulation, repurposing, and disruption. The article works through the example of an anthropomorphic figurine and a ceramic vessel, and it concludes with a call for a more-applied output.2018-02-02T12:04:02Z
      DOI: 10.1558/jca.34116
      Issue No: Vol. 4, No. 2 (2018)
School of Mathematical and Computer Sciences
Heriot-Watt University
Edinburgh, EH14 4AS, UK
Tel: +00 44 (0)131 4513762
Fax: +00 44 (0)131 4513327
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