Danish razors and Swedish rocks: Cosmology and the Bronze Age landscape

A recent study has suggested that the decorated Bronze Age metalwork of South Scandinavia depicted the path of the sun through the sky during the day and through the sea at night. At different stages in its journey it was accompanied by a horse or a ship. Similar images are found in prehistoric rock art, and this paper argues that, whilst there are important differences between the images in these two media, they also signal some of the same ideas.

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.

Terminal: a miracle play with popular music from the end of the world

Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments In the tradition of books such as Russell Hoban’s Riddley Walker and Arthur M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

Does grammatical aspect affect motion event cognition? A cross-linguistic comparison of English and Swedish speakers

In this article, we explore whether cross-linguistic differences in grammatical aspect encoding may give rise to differences in memory and cognition. We compared native speakers of two languages that encode aspect differently (English and Swedish) in four tasks that examined verbal descriptions of stimuli, online triads matching, and memory-based triads matching with and without verbal interference. Results showed between-group differences in verbal descriptions and in memory-based triads matching. However, no differences were found in online triads matching and in memory-based triads matching with verbal interference. These findings need to be interpreted in the context of the overall pattern of performance, which indicated that both groups based their similarity judgments on common perceptual characteristics of motion events. These results show for the first time a cross-linguistic difference in memory as a function of differences in grammatical aspect encoding, but they also contribute to the emerging view that language fine tunes rather than shapes perceptual processes that are likely to be universal and unchanging.

Gallic war songs (II): Marcus Cicero, Quintus Cicero, and Caesar’s invasion of Britain

This article assembles and examines the evidence for the poetic outputs of Marcus and Quintus Cicero related to Caesar’s invasion of Britain. Following the establishment of a relative chronology of the evidence for their work, it is argued that Quintus Cicero most likely produced a fabula praetexta (not an epic poem, as commonly assumed). His brother, in turn, wrote an epic, based on Quintus’ eye-witness reports. Careful analysis of the ancient discourse about this piece reveals insights in Cicero’s poetic workshop and the creation of ‘archival truth’ through narrativising historical events in epic poetry. Finally, a case is made for greater attention to financial affairs between Caesar and the Ciceros that happen to coincide with the drafting process of their respective literary works.