Environmental indifference? A critique of environmentally deterministic theories of peatland archaeological site construction in Ireland

Climate change, whether gradual or sudden, has frequently been invoked as a causal factor to explain many aspects of cultural change during the prehistoric and early historic periods. Critiquing such theories has often proven difficult, not least because of the imprecise dating of many aspects of the palaeoclimate or archaeological records and the difficulties of merging the two strands of research. Here we consider one example of the archaeological record – peatland site construction in Ireland – which has previously been interpreted in terms of social response to climate change and examine whether close scrutiny of the archaeological and palaeoenvironmental records uphold the climatically deterministic hypotheses. We evaluate evidence for phasing in the temporal distribution of trackways and related sites in Irish peatlands, of which more than 3,500 examples have been recorded, through the examination of ~350 dendrochronological and 14C dates from these structures. The role of climate change in influencing when such sites were constructed is assessed by comparing visually and statistically the frequency of sites over the last 4,500 years with well-dated, multi-proxy climate reconstructions from Irish peatlands. We demonstrate that national patterns of “peatland activity” exist that indicate that the construction of sites in bogs was neither a constant nor random phenomenon. Phases of activity (i.e. periods in which the number of structures increased), as well as the ‘lulls’ that separate them, show no consistent correlation with periods of wetter or drier conditions on the bogs, suggesting that the impetus for the start or cessation of such activity was not climatically-determined. We propose that trigger(s) for peatland site construction in Ireland must instead also be sought within the wider, contemporary social background. Perhaps not surprisingly, a comparison with archaeological and palynological evidence shows that peatland activity tends to occur at times of more expansive settlement and land-use, suggesting that the bogs were used when the landscape was being more widely occupied. Interestingly, the lulls in peatland site construction coincide with transitional points between nominal archaeological phases, typically defined on the basis of their material culture, implying that there may indeed have been a cultural discontinuity at these times. © 2012 Elsevier Ltd. All rights reserved.

Our Construct or Theirs?

Identity is relational and a construct, and is expressed in a myriad of ways. For example, material culture and its pluralist meanings have been readily manipulated by humans in a prehistoric context in order to construct personal and group identities. Artefacts were often from or reminiscent of far-flung places and were used to demonstrate membership of an (imagined) regional, or European community. Earthworks frequently archive maximum visual impact through elaborate ramparts and entrances with the minimum amount of effort, indicating that the construction of identities were as much in the eye of the perceivor, as of the perceived. Variations in domestic architectural style also demonstrate the malleability of identity, and the prolonged, intermittent use of particular places for specific functions indicates that the identity of place is just as important in our archaeological understanding as the identity of people. By using a wide range of case studies, both temporally and spatially, these thought processes may be explored further and diachronic and geographic patterns in expressions of identity investigated.

Clothing and Colonialism: The Dungiven costume and the fashioning of early modern identities

The entanglement of identity and personal attire in colonial settings is explored through consideration of a tattered set of clothes from late sixteenth-early seventeenth-century Ireland incorporating elements of Irish, English, and Scots fashion. Reconsideration of the clothing, recovered from a bog, provides a rare opportunity to explore the physical manifestations of processes of hybridity and mimesis, as well as the pragmatic accommodations of impoverishment and displacement in colonial settings. In addition to considering the role of material culture in colonial identity formation and negotiation, examination of what has become known as the Dungiven costume also speaks to the ongoing legacy of early modern colonial encounters, as the cultural associations of the garments, and by extension their past wearer(s), continue to be subjected to the politically charged nature of identity politics in contemporary Northern Ireland.

Engaging the Senses: Object-based learning in higher education

The use of museum collections as a path to learning for university students is fast becoming a new pedagogy for higher education. Despite a strong tradition of using lectures as a way of delivering the curriculum, the positive benefits of ‘active’ and ‘experiential learning’ are being recognised in universities at both a strategic level and in daily teaching practice. As museum artefacts, specimens and art works are used to evoke, provoke, and challenge students’ engagement with their subject, so transformational learning can take place. This unique book presents the first comprehensive exploration of ‘object-based learning’ as a pedagogy for higher education in a broad context. An international group of authors offer a spectrum of approaches at work in higher education today. They explore contemporary principles and practice of object-based learning in higher education, demonstrating the value of using collections in this context and considering the relationship between academic discipline and object-based learning as a teaching strategy.

Approaches through Materiality

Religion is a funny thing, because it always seems to be riding two horses at once. One could describe these horses in a number of different ways, using all sorts of familiar dichotomies; practice and belief, body and soul, earthly and heavenly, here and hereafter. “Give us this day our daily bread and forgive us our trespasses”. Here, food and forgiveness, or, perhaps more accurately, ingestion and salvation, are claimed, simultaneously – even seamlessly – by religion. This list could (and does) go on, being inclusive of, for example, immanence and transcendence – but more on this below. Yet these binary pairs can clearly be observed bleeding into one another. Ingesting pork, for example, often appears to be religiously more troublesome than does ingesting bread. This is because matter matters. We may ask, then, is religion really riding two horses, or are these ‘familiar dichotomies’ so familiar because they are false? Rephrasing the question in terms that partially echo the title and subtitle of Morgan’s (2010) landmark edited volume Religion and Material Culture: The Matter of Belief, is, I think, helpfully clarifying. What, then, is the matter with religion? The answer presented below is that, very often, the matter with religion is the matter of religion. Put more simply still, the problem with religion is its materiality. This chapter examines the whys and wherefores of this problem for the anthropology of religion – its ethnographic puzzles and methodological opportunities, as well as its conceptual impasses and theoretical insights.

A cultura cerâmica no design da joalharia portuguesa

Este trabalho de investigação tem como objectivo contribuir para o aprofundamento de estudos vocacionados para o desenvolvimento de novos produtos, suportado pelo encontro entre duas Culturas do Fazer, a cerâmica e a joalharia, e orientado pela Cultura do Projecto, o design. A análise e a ponderação acerca dos pontos em comum entre estas duas culturas materiais, em particular no contexto português, são a base para a definição e a aplicação de um novo concept de produto, mediado por uma metodologia projectual e sustentado nas noções de Modularidade, de Arquétipo, de Tipologia, de Valor Semântico, de Valor Simbólico, de Sistema de Produto e de Design Estratégico. Esta dissertação desenvolve-se ao longo de duas partes, após uma introdução em que se define o objecto de estudo e a metodologia da investigação. A primeira parte tem quatro capítulos. O primeiro capítulo trata do enquadramento teórico da Cultura Cerâmica a partir de uma análise históricotipologica (desde a cultura mesopotâmica até ao século XXI) orientando-se para o contexto português: os lugares de produção cerâmica e o azulejo como portador de cultura. O segundo capítulo, centrando-se em Portugal como lugar de investigação, estuda a Joalharia num âmbito experimental, analisando o valor simbólico da jóia. No terceiro capítulo interpreta-se o design entre tradição e inovação, nomeadamente a sua importância como veiculador cultural, o seu relacionamento com o artesanato e a relevância do laboratório como lugar de experimentação. O quarto capítulo analisa a acção do cruzamento entre os dois sectores – cerâmica e joalharia – na definição da cultura material, na Europa e em Portugal. Clarifica-se também o conceito de Sistema de Produto quando aplicado, como projecto piloto, à Joalharia, servindo-se de estudos de caso como mediadores experimentais. A segunda parte tem três capítulos. No primeiro capítulo analisam-se e averiguam-se tipologias de jóias existentes, assim como algumas provas laboratoriais que permitem o entendimento da tecnologia cerâmica no desenvolvimento de um projecto de Joalharia. Possibilita-se, deste modo, o surgimento dos primeiros estudos tipológico-formais determinantes para a definição da tipologia de projecto jóia-azulejo. No segundo capítulo define-se uma estratégia metodológica para aplicar a um produto de jóia cerâmica, analisando a particular importância do factor emocional na tomada de decisão do cliente. O terceiro capítulo defende um projecto experimental, como momento de verificação, aplicação e materialização do estudo desenvolvido nesta dissertação, proporcionando uma ocasião projectual para avaliar as potencialidades de um produto futuro, orientado pelo design, fruto do cruzamento entre a Cultura Cerâmica e a Joalharia em Portugal.