REDEFINING NEANDERTHALS AND ART: AN ALTERNATIVE INTERPRETATION OF THE MULTIPLE SPECIES MODEL FOR THE ORIGIN OF BEHAVIOURAL MODERNITY

Since the late 1990s, a number of specialists have proposed a ‘multiple species model’ to explain the origins of behavioural modernity. This model establishes that most of the traits defining modern behaviour, including ornaments and art, are not exclusive to modern humans, but arose among anatomically ‘non‐modern’ populations, like the late Neanderthals of Europe. This paper proposes that the emergence of this multiple species model is related to conceptual changes in the definitions of ‘Neanderthals’ and ‘art’. In the first place, Neanderthals, once characterized as apish creatures lacking intelligence, are now considered by many as complex cognitive people capable of modern behaviour, including the ability to create symbolic and artistic representations. In the second place, personal ornaments, once trivialized as ‘trinkets’, are recognized today as artistic representations and as symbolically valued as other prehistoric artworks. These redefinitions of Neanderthals and personal ornaments reflect not only the multiple species model but also some of the recent debates concerning the origins of symbolic behaviour.     

THE AMINOCHRONOLOGY OF MAN‐INDUCED SHELL MIDDENS IN CAVES IN NORTHERN SPAIN*

Here, we provide the first report on the ages of 54 archaeological levels in 38 caves in northern Spain by means of the aspartic acid d /l ratio measurements in Patella shells, with good results. For this purpose, we developed an age calculation algorithm that allows the numerical dating of deposits from other archaeological localities in the area and nearby regions. We conclude that the sample size—that is, the number of shells analysed within a single level—reinforces the importance of analysing numerous specimens per horizon and the understanding of the time‐averaging concept. The ultrastructure of different species of Patella shells was also studied, showing calcite in their apexes and aragonite at their margins.     

THINKING ABOUT 'STYLE' IN THE 'POST-STYLISTIC ERA': RECONSTRUCTING THE STYLISTIC CONTEXT OF CHAUVET

Summary.   Over the past decade, new radiocarbon dating from several art caves has conflicted with the traditional stylistic sequence of Palaeolithic art. Using Chauvet as a paradigm, some archaeologists have suggested that stylistic approaches to Palaeolithic art should be rejected in favour of more sophisticated methods, such as AMS radiocarbon dating. Contrary to this proposal, we suggest that the high antiquity of the Chauvet paintings (dated to c .32,000 years BP) does not necessarily imply the end of all stylistic approaches to Palaeolithic art. Taking the recent discoveries (2003) at the site of Hohle Fels and the attribution of the Palaeolithic engravings of the cave of l'Aldène to the Aurignacian (2005) into account, we suggest that the Chauvet paintings can be placed within an Aurignacian stylistic context. Throughout this analysis, we propose some critical thoughts on the concept of 'style' and discuss some ways in which stylistic approaches can be used to improve our knowledge of Palaeolithic art.