PATTERN WITHOUT A PLAN: RETHINKING THE BRONZE AGE COAXIAL FIELD SYSTEMS ON DARTMOOR, SOUTH-WEST ENGLAND

Summary.   The coaxial field systems on Dartmoor are widely interpreted as the result of a relatively rapid period of planned land division during the middle centuries of the second millennium BC. This article seeks to challenge this notion of a 'planned landscape'. Using examples from southern (Shaugh Moor) and north-eastern (Kestor and Shovel Down) Dartmoor, it is demonstrated that the boundaries materialized existing structures in the landscape which had emerged through patterns of dwelling and long histories of tenure. In seeking to present a new narrative for the enclosure of the Dartmoor landscape, it is argued that tenure was articulated at a local level through the relationship between occupancy and ancestral ties to the land, and that land division was only possible because the forms of tenure and perceptions of landscape were already in place. The coaxial pattern emerged in a reflexive tradition of boundary construction rather than as part of a transformative plan or a conscious strategy to reorganize and enclose the moor.     

Who ate all the pride? Patriotic sentiment and English national football support

ABSTRACT. The growing popularity of English national insignia in international football tournaments has been widely interpreted as evidence of the emergence of a renewed English national consciousness. However, little empirical research has considered how people in England actually understand football support in relation to national identity. Interview data collected around the time of the Euro 2000 and the 2002 World Cup tournaments fail to substantiate the presumption that support for the England football team maps onto claims to patriotic sentiment in any straightforward way. People with far‐right political affiliations did generally use national football support to symbolise a general pride in English national identity. However, other people either claimed not to support the England national team precisely because of its associations with nationalism, or else bracketed the domain of football support from more general connotations of English patriotism.     

BLACKSMITHING TECHNOLOGY IN IRON AGE WESSEX

Summary. The sophistication of Iron Age blacksmithing technology in Wessex was determined by the metallurgical examination of 503 iron artefacts using Optical Metallography, Electron Microprobe Analysis and Vickers Hardness Testing. Iron artefacts from the different regions and site types of Southern Britain were examined to determine both the capabilities of Iron Age blacksmiths to alter the properties of iron artefacts through cold-working, carburization, heat-treatment and alloy selection, and the distribution of these possible techniques. The reasons for the selection of the areas, the sites, and the actual artefacts chosen for examination are discussed.     

MORE THAN MEETS THE EYE: NEW RECORDINGS OF MEGALITHIC ART IN NORTH‐WEST IRELAND

In this paper new and previously known passage tomb art in north‐west Ireland is recorded using an innovative recording technique. The use of this method, which involves vector drawing from digital photographs taken with oblique lighting (VeDPOL), has clarified and increased the instances of megalithic carving in the north‐west of Ireland. At two monuments – Listoghil and Heapstown Cairn – the new recordings have allowed us to contextualize the art within the broader corpus of passage tomb motifs. Additionally, it is proposed that one of the carvings from Listoghil is of later prehistoric origin and not Neolithic as previously believed. Finally, and most importantly, this paper highlights a group of motifs recently found at Cairn B in the Carrowkeel‐Keashcorran complex. This discovery demonstrates for the first time that megalithic art was a feature of all four major passage tomb complexes in Ireland.     

HOUSE URNS AND ETRUSCAN TOMB PAINTING: TRADITION VERSUS INNOVATION IN THE NINTH–SEVENTH CENTURIES BC

Summary.   The first painted tombs in Etruria date to about 675–650 BC, as attested by a few examples at Veii and Caere, which pre-date those of Tarquinia (mainly sixth–third centuries BC). At first glance, tomb painting has no obvious connection with the Early Iron Age or Villanovan period (tenth/ninth–eighth centuries BC), when burial in shaft or trench graves predominated. Nevertheless, some links can be suggested with Villanovan house urns, which reinforce the point that indigenous traditions merit greater consideration than is usual in discussions of Etruscan artistic and cultural development.     

WHO INVENTED THE CLAW CHISEL?

Summary. Part I discusses the problem of the introduction of the claw chisel in stone masonry and sculpture. This tool was thought to have been invented in 6th-century Greece for the needs of marble carving. The detection of its traces on a tomb of 7th-century Egypt in soft limestone, however, now suggests not only that the Greeks borrowed it from the Egyptians but also that it was not originally a marbleworker's tool. Part II deals with both the tomb and career of an Egyptian official designated Nespeqashuty D in order to place into a chronological framework one of the earliest securely dated attestations for the use of the claw chisel in Egyptian art. Both parts are intended to place the impact of Egypt on Greece into sharper focus.