By James Delgado

Top archaeologist and consummate storyteller James Delgado takes readers on a rollicking deep-sea dive into his hugely strange life's paintings: finding and exploring the world's most renowned shipwrecks.

Colorful characters, close to misses, and the fun of status — or floating — in history's footprints make for a hugely exciting examine the attention-grabbing background and glittering bounty underneath the waves.

Included are debts of Pearl Harbor, the sizeable, and Bikini Atoll, website of the world's first nuclear assessments.

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Additional info for Adventures of a Sea Hunter: In Search of Famous Shipwrecks

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URPIE logic: an analysis of the structure of the supporting arguments of universal reburial proponents. : Department of Anthropology, National Museum of Natural History, Smithsonian Institution. Trigger, Bruce G. 1984. Alternative archaeologies: nationalist, colonialist, imperialist. Man 19, 355–70. Trivers, R. 1985. Social evolution. Menlo Park, California: Cummins. J. 1969. Ethnography and archaeological interpretation of funerary remains. World Archaeology 1, 262–80. J. 1983. Australian academic archaeology: Aboriginal transformation of its aims and practices.

Neither archaeologist addresses a set of issues which, to indigenous peoples, appear crucial: to what extent does archaeological theory itself embody subjective assumptions about cultural process? Have archaeologists’ presuppositions prevented them from correctly interpreting the response of indigenous peoples to colonial domination? Have they similarly neglected the dynamics of non-Western society prior to colonial contact? Can indigenous peoples contribute to a reassessment of their own past, or does Western culture have a monopoly on scientific method?

Our discussions about the problems of recognizing objectivity formed the germ of this introduction. Peter Ucko made helpful comments on a draft version. Notes 1 The quotation which Ardener provides from Newton’s published correspondence for the year 1675 (Ardener 1971, p. lxxxiv) seems unequivocal; Newton sought a friend’s help ‘to draw with a pencil lines cross the image…where every one of the seven aforenamed colours was most full and brisk, and also where he judged the fullest confines of them to be’.

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