Question at position 18 One of the main arguments that Conkey (1981) makes is that:Paleolithic art is NOT ritualisticPaleolithic art combined ritual and ecological knowledgePaleolithic art was made at random by hunter-gatherersArchaeologists can only determine that Paleolithic art was made in sacred spaces and it is impossible to detect any patterns or order within the art itself

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Here is the question and the answer choices to consider:
Question: One of the main arguments that Conkey (1981) makes is that:
Options:
- Paleolithic art is NOT ritualistic
- Paleolithic art combined ritual and ecological knowledge
- Paleolithic art was made at random by hunter-gatherers
- Archaeologists can only determine that Paleolithic art was made in sacred spaces and it is impossible to detect any patterns or order within the art itself

Option 1: Paleolithic art is NOT ritualistic. This statement asserts a completely non-ritual view of Paleolithic art. However, Conkey’s argument centers on challenging simple separations between ritual and non-ritual aspects by highlighting how art often intertwines symbolic, ritual, and ecological dimensions. So this option is inconsistent with that nuanced stance and is not supported by Conkey’s emphasis on integration rather than a strict division.

Option 2: Paleolithic art combined ritual and ecological knowledge. This choice aligns with Conkey’s core claim that artwork from the Paleolithic period communicates through an intertwined framework of ritual significance and ecological understanding. It reflects the idea that symbolic representations function within lived ecological contexts and ritual practices, not in isolation. This option captures the nuanced position Conkey advocates.

Option 3: Paleolithic art was made at random by hunter-gatherers. This position suggests a lack of intentional pattern or meaning. Conkey’s argument, in contrast, treats Paleolithic art as purposeful and embedded within cultural practices, even if its meanings are complex or contested. Therefore, this option mischaracterizes the agentive and meaningful nature of the art as discussed by Conkey.

Option 4: Archaeologists can only determine that Paleolithic art was made in sacred spaces and it is impossible to detect any patterns or order within the art itself. This statement overstates a limitation of archaeological interpretation and implies a blanket claim about sacred contexts and invisibility of structure. Conkey does not reduce the analysis to sacred-space determinism nor deny any discernible patterns; rather, she emphasizes the interplay of ritual and ecological knowledge, not a claim that order is undetectable.

In sum, Option 2 accurately reflects Conkey’s main argument about the inseparability of ritual and ecological knowledge in Paleolithic art, while the other options misrepresent the nature of her claim by either denying ritual aspects, implying randomness, or overstating interpretive limitations about sacred spaces and patterns.

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