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This book tells the story of both the ancient humans who made handaxes and the thoughts and ideas of scholars who have spent their lives trying to understand them. Beginning with the earliest known finds, this volume provides a linear and thematic account of the history of the Old Stone Age, or Palaeolithic period, covering major discoveries, interpretations and debates worldwide; a story that takes us from the embers of the Great Fire of London to the beginning of the Covid-19 pandemic. It offers a comprehensive and unique history of archaeological theory and interpretation, seeking to explain how we know what we know about the deep past, and how ideas about it have changed over time, reflecting both scientific and societal change. At its heart lies the quest for an answer to a most curious and sometimes beautiful tool ever made – the handaxe. While focused on the Earlier Palaeolithic period, the book provides a readable account of how ideas about the prehistoric past generally were formed and altered, showing how the wider discipline came to be dominated by a succession of different theoretical ‘paradigms’, each seeking different answers from the same data set. Serving a dual purpose as a historical narrative and as a reference source, this book will be of interest to all students and researchers interested in deep human prehistory and evolution, archaeological theory and the history of archaeology.
The visual imagery of Neolithic Britain and Ireland is spectacular. While the imagery of passage tombs, such as Knowth and Newgrange, are well known the rich imagery on decorated portable artefacts is less well understood. How does the visual imagery found on decorated portable artefacts compare with other Neolithic imagery, such as passage tomb art and rock art? How do decorated portable artefacts relate chronologically to other examples of Neolithic imagery? Using cutting edge digital imaging techniques, the Making a Mark project examined Neolithic decorated portable artefacts of chalk, stone, bone, antler, and wood from three key regions: southern England and East Anglia; the Irish Sea region (Wales, the Isle of Man and eastern Ireland); and Northeast Scotland and Orkney. Digital analysis revealed, for the first time, the prevalence of practices of erasure and reworking amongst a host of decorated portable artefacts, changing our understanding of these enigmatic artefacts. Rather than mark making being a peripheral activity, we can now appreciate the central importance of mark making to the formation of Neolithic communities across Britain and Ireland. The volume visually documents and discusses the contexts of the decorated portable artefacts from each region, discusses the significance and chronology of practices of erasure and reworking, and compares these practices with those found in other Neolithic contexts, such as passage tomb art, rock art and pottery decoration. A contribution from Antonia Thomas also discusses the settlement art and mortuary art of Orkney, while Ian Dawson and Louisa Minkin contribute with a discussion of the collaborative fine art practices established during the project.
This lavishly illustrated volume presents a state of the art survey of the ancient rock art of Britain and Ireland. Bringing together new discoveries and new interpretations, it enhances our understanding and further establishes ancient British and Irish rock art as a significant archaeological assemblage worthy of attention and additional study.
This book offers a groundbreaking analysis of Neolithic art and architecture in Orkney, focussing upon the incredible collection of hundreds of decorated stones being revealed by the current excavations at the Ness of Brodgar.
Prehistoric Britain, now in its second edition, examines the development of human societies in Britain from earliest times to the Roman conquest of AD 43, as revealed by archaeological evidence. Special attention is given to six themes which are traced through prehistory: subsistence, technology, ritual, trade, society, and population.
Stan Beckensall is renowned for his work, done on an entirely amateur basis, discovering, recording and interpreting Atlantic rock art in his home county of Northumberland and beyond. Presented on his 90th birthday, this diverse and stimulating collection of papers celebrates his crucial contribution to rock art studies, and looks to the future.
Western Iberia has one of the richest inventories of Neolithic chambered tombs in Atlantic Europe, with particular concentrations in Galicia, northern Portugal and the Alentejo. Less well known is the major concentration of tombs along the Tagus valley, straddling the Portuguese-Spanish frontier. Within this cluster is the Anta da Lajinha, a small megalithic tomb in the hill-country north of the River Tagus. Badly damaged by forest fire and stone removal, it was the subject of joint British-Portuguese excavations in 2006-2008, accompanied by environmental investigations and OSL dating. This volume takes the recent excavations at Lajinha and the adjacent site of Cabeço dos Pendentes as the starting point for a broader consideration of the megalithic tombs of western Iberia. Key themes addressed are relevant to megalithic tombs more generally, including landscape, chronology, settlement and interregional relationships. Over what period of time were these tombs built and used? Do they form a horizon of intensive monument construction, or were the tombs the product of a persistent, long-lived tradition? How do they relate to the famous rock art of the Tagus valley, and to the cave burials and open-air settlements of the region, in terms of chronology and landscape? A final section considers the Iberian tombs within the broader family of west European megalithic monuments, focusing on chronologies, parallels and patterns of contact. Did the Iberian tombs emerge through connections with older established megalithic traditions in other regions such as Brittany, or were they are the outcome of more general processes operating among Atlantic Neolithic societies?