Constructing prehistory: Lithic analysis in the Levantine Epipalaeolithic

This study explores the way in which our picture of the Levantine Epipalaeolithic has been created, investigating the constructs that take us from found objects to coherent narrative about the world. Drawing on the treatment of chipped stone, the fundamental raw material of prehistoric narratives, it examines the use of figurative devices - of metaphor, metonymy, and synecdoche - to make the connection between the world and the words we need to describe it. The work of three researchers is explored in a case study of the Middle Epipalaeolithic with the aim of showing how different research goals and methodologies have created characteristics for the period that are so entrenched in discourse as to have become virtually invisible.Yet the definition of distinct cultures with long-lasting traditions, the identification of two separate ethnic trajectories linked to separate environmental zones, and the analysis of climate as the key driver of change all rest on analytical manoeuvres to transform objects into data.

Dating the volcanic eruption at Thera

The eruption of the volcano at Thera (Santorini) in the Aegean Sea undoubtedly had a profound influence on the civilizations of the surrounding region. The date of the eruption has been a subject of much controversy because it must be linked into the established and intricate archaeological phasings of both the prehistoric Aegean and the wider east Mediterranean. Radiocarbon dating of material from the volcanic destruction layer itself can provide some evidence for the date of the eruption, but because of the shape of the calibration curve for the relevant period, the value of such dates relies on there being no biases in the data sets. However, by dating the material from phases earlier and later than the eruption, some of the problems of the calibration data set can be circumvented and the chronology for the region can be resolved with more certainty. In this paper, we draw together the evidence we have accumulated so far, including new data on the destruction layer itself and for the preceding cultural horizon at Thera, and from associated layers at Miletos in western Turkey. Using Bayesian models to synthesize the data and to identify outliers, we conclude from the most reliable C-14 evidence (and using the INTCAL98 calibration data set) that the eruption of Thera occurred between 1663 and 1599 BC.

The use of FT-IR as a screening technique for organic residue analysis of archaeological samples

A range of archaeological samples have been examined using FT-IR spectroscopy. These include suspected coprolite samples from the Neolithic site of Catalhoyuk in Turkey, pottery samples from the Roman site of Silchester, UK and the Bronze Age site of Gatas, Spain and unidentified black residues on pottery sherds from the Roman sites of Springhead and Cambourne, UK. For coprolite samples the aim of FT-IR analysis is identification. Identification of coprolites in the field is based on their distinct orange colour; however, such visual identifications can often be misleading due to their similarity with deposits such as ochre and clay. For pottery the aim is to screen those samples that might contain high levels of organic residues which would be suitable for GC-MS analysis. The experiments have shown coprolites to have distinctive spectra, containing strong peaks from calcite, phosphate and quartz; the presence of phosphorus may be confirmed by SEM-EDX analysis. Pottery containing organic residues of plant and animal origin has also been shown to generally display strong phosphate peaks. FT-IR has distinguished between organic resin and non-organic compositions for the black residues, with differences also being seen between organic samples that have the same physical appearance. Further analysis by CC-MS has confirmed the identification of the coprolites through the presence of coprostanol and bile acids, and shows that the majority of organic pottery residues are either fatty acids or mono- or di-acylglycerols from foodstuffs, or triterpenoid resin compounds exposed to high temperatures. One suspected resin sample was shown to contain no organic residues. and it is seen that resin samples with similar physical appearances have different chemical compositions. FT-IR is proposed as a quick and cheap method of screening archaeological samples before subjecting them to the more expensive and time-consuming method of GC-MS. This will eliminate inorganic samples such as clays and ochre from CC-MS analysis, and will screen those samples which are most likely to have a high concentration of preserved organic residues. (C) 2008 Elsevier B.V. All rights reserved.

The politics of weddings at Athens: an iconographic assessment

Despite recent scholarship that has suggested that most if not all Athenian vases were created primarily for the symposium, vases associated with weddings constitute a distinct range of Athenian products that were used at Athens in the period of the Peloponnesian War and its immediate aftermath (430-390 BCE). Just as the subject matter of sympotic vases suggested stories or other messages to the hetaireia among whom they were used, so the wedding vases may have conveyed messages to audiences at weddings. This paper is an assessment of these wedding vases with particular attention to function: how the images reflect the use of vases in wedding rituals (as containers and/or gifts); how the images themselves were understood and interpreted in the context of weddings; and the post-nuptial uses to which the vases were put. The first part is an iconographic overview of how the Athenian painters depicted weddings, with an emphasis on the display of pottery to onlookers and guests during the public parts of weddings, important events in the life of the polis. The second part focuses on a large group of late fifth century vases that depict personifications of civic virtues, normally in the retinue of Aphrodite (Pandemos). The images would reinforce social expectations, as they advertised the virtues that would create a happy marriage—Peitho, Harmonia (Harmony), and Eukleia (Good Repute)—and promise the benefits that might result from adherence to these values—Eudaimonia and Eutychia (Prosperity), Hygieia (Health), and Paidia (Play or Childrearing). Civic personifications could be interpreted on the private level—as personal virtues—and on the public level—as civic virtues— especially when they appeared on vases that functioned both in public and private, at weddings, which were public acknowledgments of private changes in the lives of individuals within the demos.

Still water, hidden depths: the deposition of Bronze Age metalwork in the English Fenland

Finds of metalwork always raise the question of why they were deposited: a smith's collection, a concealed hoard or a votive offering? Findspots in water suggest offerings, since they would be awkward to retrieve. But understanding the context of deposition means knowing the prehistoric environment. The Fenland area of England has many Bronze Age sites, and deposits of metalwork and a well-mapped ancient environment too. Putting all three together the authors begin to assemble a grammar of deposition: swords and rapiers in rivers, some mixed collections placed in still water and others on once-dry land with burnt mounds.

Another Proof of the Preceding Theory

Another Proof of the Preceding Theory was produced as part of a residency run by Artists in Archeology in conjunction with the Stonehenge Riverside project. The film explores the relationship between science, work and ritual, imagining archaeology as a future cult. As two robed disciples stray off from the dig, they are drawn to the drone of the stones and proceed to play the henge like a gigantic Theremin. Just as a Theremin is played with the hand interfering in an electric circuit and producing sound without contact, so the stones respond to the choreographed bodily proximity. Finally, one of the two continues alone to the avenue at Avebury, where the magnetic pull of the stones reaches its climax. Shot on VHS, the film features a score by Zuzushi Monkey, with percussion and theremin sounds mirroring the action. The performers are mostly artists and archeologists from the art and archaeology teams. The archeologists were encouraged to perform their normal work in the robes, in an attempt to explore the meeting points of science and ritual and interrogate our relationship to an ultimately unknowable prehistoric past where activities we do not understand are relegated to the realm of religion. Stonehenge has unique acoustic properties, it’s large sarsen stones are finely worked on the inside, left rough on the outside, intensifying sound waves within the inner horseshoe, but since their real use, having been built over centuries, remains ambiguous, the film proposes that our attempts to decode them may themselves become encoded in their cumulative meaning for future researchers.

Early–Middle Holocene vegetation history, climate change and human activities at Lago Riane (Ligurian Apennines, NW Italy)

The radiocarbon-dated palaeoecological study of Lago Riane (Ligurian Apennines, NW Italy) presented here forms part of a wider investigation into the relationships between Holocene vegetation succession, climate change and human activities in the northern Apennines. The record of vegetation history from Lago Riane indicates that, since the end of the last glaciation, climate change and prehistoric human activities, combined with several local factors, have strongly influenced the pattern and timing of natural vegetation succession. The pollen record indicates an important change in vegetation cover at Lago Riane at ~8500–8200 cal. years b.p., coincident with a well-known period of rapid climate change. At ~6100 cal. years b.p., Fagus woodland colonised Lago Riane during a period of climate change and expansion of Late Neolithic human activities in the upland zone of Liguria. A marked decline in Abies woodland, and the expansion of Fagus woodland, at ~4700 cal. years b.p., coincided with further archaeological evidence for pastoralism in the mountains of Liguria during the Copper Age. At ~3900–3600 cal. years b.p. (Early to Middle Bronze Age transition), a temporary expansion of woodland at Lago Riane has been provisionally attributed to a decline in human pressure on the environment during a period of short-term climate change