The girl with the chariot medallion: a well-furnished,Late Iron Age Durotrigian burial from Langton Herring,Dorset

A well-furnished, Late Iron Age Durotrigian burial was found in 2010 by a metal-detectorist at Langton Herring in Dorset. This report examines all aspects of the discovery, paying particular attention to the skeletal remains, a female aged 19–24, providing the most complete, osteobiographical study of an individual buried with a mirror assemblage from the European Iron Age. A combination of artefacts and radiocarbon dating gives a range for the burial of c.AD 25 – cal AD 53. The grave goods themselves are of exceptional interest, representing an accumulation of artefacts acquired from diverse sources, deposited at a time of major cultural and societal change in southern Britain. The results of a geophysical survey are also presented, together with a discussion of additional well-furnished burials in the Durotrigian tribal tradition, which place the burial deposit within a wider social and landscape framework.     

Report of the Committee on Ancient Earthworks & Fortified Enclosures

The recent identification of two original drawings of the excavated remains of the east end of St Hugh’s choir at Lincoln Cathedral adds new information to that first published in 1887. A review of this information and fresh survey of the site, which includes information from grave slabs, will enlarge our understanding of what was discovered, including the fact that the foundations had been badly damaged by grave digging. The drawings themselves are revealed to be part reconstructions rather than accurate representations of what had actually survived. Nevertheless, they do allow a more accurate plan of the remains to be drafted and a new reconstruction of the building to be attempted. This is the aim of this article.     

‘Le Temps du plastique’: The Critique of Synthetic Materials in 1950s France

The increasing pervasiveness of plastics in 1950s France was accompanied by a profoundly ambivalent critique of synthetic materials. Much postwar French culture tended to affirm traditional craft-based production, treating plastics with suspicion. Synthetic materials symbolised a ‘bad’ modernity, the emergence of a new consumer society of mechanised mass production and the death of an older artisanal way of life. More fundamentally, synthetics challenged the very notion of materials itself, questioning through their capacity for imitation and transformation the accepted identities and hierarchies of the material world. Works by Roland Barthes, Roger Vailland, Jacques Tati, Alain Resnais and Raymond Queneau engage with the implications of plastic, revealing a deep ambivalence about social and economic modernisation through their treatment of materials whose simultaneously polymorphous and homogeneous character both seduces and repels. Beginning as a project of demystification, the cultural critique of plastic ultimately reveals its complicity with what it ostensibly rejects.