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After more than eighty years of international research on the Indus Civilization, this geographically extensive ancient society remains deeply enigmatic. With no known monumental art or deciphered texts, the largest category of representational art recovered from many Indus sites is terracotta figurines. In this detailed research report, archaeologist Sharri R. Clark examines and recontextualizes a rich and diverse corpus of hundreds of figurines from the urban site of Harappa (ca. 3300–1700 BC) to reveal new information about Indus ideology and society. The hand-modeled figurines―including anthropomorphic and zoomorphic figures, fantastic creatures such as unicorns, and special forms with wheels or movable parts―served as a medium of communication and exchange that reflects underlying structures of Indus society and cultural change. The author focuses on the figurines as artifacts whose “social lives” can be at least partially reconstructed through systematic analysis of stylistic and technological attributes and spatial and temporal contexts. Comparisons with ethnographic data, historic texts, and contemporaneous ancient societies enrich and inform the groundbreaking interpretations. Lavishly illustrated, the volume includes an extensive database on disk.

After more than eighty years of international research on the Indus Civilization, this geographically extensive ancient society remains deeply enigmatic. With no known monumental art or deciphered texts, the largest category of representational art recovered from many Indus sites is terracotta figurines. In this detailed research report, archaeologist Sharri R. Clark examines and recontextualizes a rich and diverse corpus of hundreds of figurines from the urban site of Harappa (ca. 3300–1700 BC) to reveal new information about Indus ideology and society. The hand-modeled figurines―including anthropomorphic and zoomorphic figures, fantastic creatures such as unicorns, and special forms with wheels or movable parts―served as a medium of communication and exchange that reflects underlying structures of Indus society and cultural change. The author focuses on the figurines as artifacts whose “social lives” can be at least partially reconstructed through systematic analysis of stylistic and technological attributes and spatial and temporal contexts. Comparisons with ethnographic data, historic texts, and contemporaneous ancient societies enrich and inform the groundbreaking interpretations. Lavishly illustrated, the volume includes an extensive database on disk.

From its earliest days as little more than a series of monophonic outbursts to its current-day scores that can rival major symphonic film scores, video game music has gone through its own particular set of stylistic and functional metamorphoses while both borrowing and recontextualizing the earlier models from which it borrows. With topics ranging from early classics like Donkey Kong and Super Mario Bros. to more recent hits like Plants vs. Zombies, the eleven essays in Music in Video Games draw on the scholarly fields of musicology and music theory, film theory, and game studies, to investigate the history, function, style, and conventions of video game music.