Skyjackers,jackals and soldiers: British planning for international terrorist incidents during the 1970s

Following the Munich Olympics massacre of September 1972, the British government conducted a series of contingency plans to ensure that Whitehall, police constabularies and the armed forces were prepared for similar crises affecting the UK and its citizens. This article examines the evolution of British counterterrorist planning during the 1970s, which still shapes Whitehall's crisis management procedures for responding to international terrorism, and also procedures for calling for military support in response to hijackings, hostage‐taking and similar incidents both domestically and overseas. It demonstrates that while there are differences in the character of the terrorist threat 40 years ago and today, there are also parallels between the practical and political challenges of counterterrorism in the era of the Baader–Meinhof group and Carlos the Jackal, and the struggle against al‐Qaeda and its affiliates today.     

THE CHEMICAL COMPOSITION OF SOME ARCHAEOLOGICALLY SIGNIFICANT FLINT FROM DENMARK AND SWEDEN

Flint was one of the most widely employed raw materials for artefact manufacture in Denmark and Sweden during the Stone Age, and it continued to be used during subsequent periods. Prehistoric flint mining and lithic manufacturing studies in these countries have attracted considerable attention, but there have been no recent attempts to chemically characterize the geological source materials. This paper builds on a pilot study ( Hughes et al. 2010 ) and uses energy‐dispersive X‐ray fluorescence (EDXRF) analysis to determine quantitative composition estimates for nine major, minor and certain trace elements in seven archaeologically significant flint sources in Denmark and Sweden, along with new data on a number of other sources of prehistoric significance. These data provide a geochemical foundation for ongoing research devoted to determining contrasts and continuities in the time and space utilization of flint sources in Scandinavian prehistory.     

THE SPATIO-TEMPORAL SYNCHRONIZATION OF PERIODIC MARKET-PLACES: A RE-EXAMINATION

Analyses of the locational and temporal spacing of periodic market-places have provided only partial confirmation of the hypothesis 'proximity in space implies separation in time.' The patterns, which are observed in almost all empirical studies, are explained here in terms of a simple avoidance rule constrained by the geometry of periodic market-place systems. The results of a series of simulations suggest that the constraints of geometry are such that only simple avoidance rules can be applied, and any more sophisticated rationale is therefore questionable.
Les études portant sur le degré de séparation spatiale et temporelle des places de marché périodique ne confirment que partiellement l' hypothése que proximité spatiale implique séparation dans le temps. Les effets observés dans presque toutes les études empiriques sont éxpliqués ici en terme d' une simple loi d' évitement, sous les contraintes de la géometrie du système des marchés périodiques. Les resultats d'une série d' analyses de simulations suggerent l' existence de contraintes géometriques telles que seules de simples lois d' evitement semblent opérationnelles. Ainsi, toute autre explication plus compliqué est remise en question.     

THE 'PERSEUS DANCE' VASE REVISITED

Summary.   For 70 years the image of an apparent comic actor performing on a simple stage has been known primarily from the drawing by Gilliéron. This paper is founded on the first direct study of the Vlasto chous since 1935. The author compares the vase with the drawing, showing that while scholars ought to have been sceptical of Gilliéron, he was reasonably accurate. Interpretations of the imagery from Caputo, who first studied the vase (1935), to Schmidt (1995 ) explain it variously as a scene of comedy or a manslaughter trial on a ship. The paper evaluates these views in the light of comparable iconography and fresh study of the vase, and concludes that it is indeed theatrical. However, some aspects of the imagery remain difficult to explain.