The high-water mark. The siting of megalithic tombs on the Swedish island of Tjorn

In 1977 Grahame Clark suggested that the siting of megalithic tombs along the west coast of Scandinavia reflected the distribution of productive fishing grounds. Unlike the situation in other parts of Europe, these monuments were not associated with agriculture. Opinions have varied over the last quarter century, but enough is now known about changes of sea-level for his interpretation to be investigated on the ground. There seems to have been considerable diversity. On the large island of Örust some of the tombs located near to the sea appear to be associated with small natural enclosures defined by rock outcrops and may have been associated with grazing land. On the neighbouring island of Tjörn, however, the tombs were associated with small islands and important sea channels. During the Bronze Age the same areas included carvings of ships. Recent fieldwork in western Norway suggests that such locations were especially important in a maritime economy.

What makes a good research paper?

The annual round of refereeing for the ARCOM conference always prompts a stimulating debate among the committee members as to what constitutes a good research paper. Clearly, there is a good deal of subjectivity in distinguishing good from bad, but there may be some basic characteristics that mark out a research paper from any other kind of paper, and it is good research papers that we would like to encourage at the annual conference.

Ted Hughes: the development of a children's poet

This article looks at how Ted Hughes' poetry for children developed over more than 30 years of publication. It traces the movement from his earlier, more conventional rhyming poems, such as Meet My Folks! (1961) and Nessie the Mannerless Monster (1964), to the mature, free verse "animal poems" for older readers of Season Songs (1976c), Under the North Star (1981) and the "farmyard fable" What is the Truth? (1984). The article argues that the later lyrical poems for younger readers where Hughes returned to rhyme, The Cat and the Cuckoo (1987) and The Mermaid's Purse (1993), represent an undervalued final phase of Hughes' work for children which is rarely discussed by critics. The discussion considers Hughes' changing attitude to the concept of the "children's poet" at different periods of his career. Reference is made throughout to Hughes' own writing about children and poetry, such as Poetry in the Making (1967), and to parallel developments in his poetry for adults.