Current debates surrounding decolonisation and the democratisation of display are a critical issue for prehistoric collections as well as more recent material. The objects most likely to symbolise prehistory in museum displays, and thus in the popular imagination—those made of precious, skilfully worked materials—are a restricted group of iconic things, often interpreted as reflective of social status rather than anything more personal or spiritual. To contextualise this debate, the authors outline public reaction to the display of alternative objects with more representative messages within The World of Stonehenge exhibition, which was held at the British Museum in 2022.

Although the practice of human sacrifice in the British Iron Age is mentioned by multiple authors, both ancient and modern, physical proof of such activity in the archaeological record is comparatively rare. At Winterborne Kingston, in Dorset, the skeletal remains of a young adult female found face down near the base of a cylindrical storage pit provides clear evidence of violent death in the later Iron Age. Analysis of the skeleton suggests an individual who led a hard-working life and who, having suffered an act of violence a few weeks before death, was killed, possibly with her hands tied, by a blade incision to the neck. Placement of the body further suggests that killing was enacted within the pit, execution as spectacle forming the final act in a larger ceremony involving the creation of an animal bone stack or platform.

Revivals of public interest in the Neolithic Near East have generally coincided with the emergence of powerful imagery, such as the discovery of Çatalhöyük’s striking wall paintings in the 1960s. Now, sixty years later, the sculptures of Göbekli Tepe are ensuring the period’s widespread appeal. The capacity of these well-preserved buildings to carry such imagery until today has made them, in turn, an image of the supposed achievements of Neolithic sedentism. But the popularity of these images depends on their decontextualization. This modernist notion that permanent architecture represents the conquest of spatial forms over time is in contradiction with the early Neolithic experience of settled life, which had more to do with the unstable duration of places than with an emancipation from motion. This essay explores the Neolithic preference for earth architecture over more stable construction materials such as stone, its influence on visual culture, and how it contributed to building new living relations to the inhabited landscape. Instead of the sense of fixity and completeness that we, moderns, desperately seek in plans, reconstructions, and monumentality, it is the very transience, repetitiveness, and cumulativeness of earth that determined the transformations of the archaeological record. In other words, rhythms are key to understanding Neolithic sedentism in ways that differ wildly from the static images we have substituted for it.

George Finlay was a British gentlemen and philhellene, resident in Greece in the mid-nineteenth century. His journals, letters, library and antiquities now reside at the British School at Athens, collections that provide a wealth of information both about Finlay himself and about the world of his contemporaries. This paper looks at two episodes from Finlay’s life as preserved in his archive, documenting two overseas travels: the first is a tour around Egypt, Jerusalem and the Near East in 1845 and 1846, and the second is a series of repeat visits to Switzerland beginning in 1859 and continuing in the late 1860s. By looking at Finlay’s itineraries and at the activities he undertook in Egypt and Switzerland, and by analysing what and how Finlay chose to document in his notebooks, the aim of this paper is to understand more about Finlay’s motivations for travel and his intellectual formation. While Finlay’s time in the Near East was likely spurred by the recent publication of handbooks and by a developing fashion for (biblical) tourism, his time in Switzerland coincided with the flurry of excitement from recent excavations of the Swiss lake villages, allowing Finlay to re-engage an interest in prehistory that he had long since developed. In each case, Finlay’s social connections and his networks played a large part in directing his programme.

Prehistory comprises millions of years and encompasses a diverse range of social, cultural, economic and technological practices. Despite its widespread public popularity, understanding of the chronology and developments of this vast expanse of human history is frequently anachronistic. Here, the author uses the results of museum visitor questionnaires and tracking surveys to assess public preconceptions of prehistory and engagements with museum displays. In addition, the article documents and explores 173 prehistory displays in museums in England, identifying trends in representation. The results point to some significant representational disparities affecting the display of prehistory and highlights some opportunities for reimagining museum prehistory displays.

How can we understand prehistoric lithic objects? What meaning should we give them and what view should we adopt to claim access to their significance? How can we reduce and clarify our biases? This article is a proposal to introduce Peircian semiotics to review lithic objects. For a long time, these were apprehended as types, sometimes within evolutionary lineages; however, in this research, knapped stone objects will be perceived through a semio-pragmatic grid and reviewed as signs. The proposed approach is a new way of accessing the fields of technical phenomena of prehistoric communities. This new perception aims at a quest for objectivity, by clarifying the affective, analytical and interpretative a priori as an answer to the sometimes very personal view of the prehistorian on lithic objects. Charles Sanders Peirce’s logical theory of signs or semiotics is contextualized within an ‘artisanal’ reading of prehistoric tools as initiated by Éric Boëda and further developed by Michel Lepot. Through this phaneroscopic/phenomenological vision, the technical object, now a sign-object, is placed in action (semiosis) within a system of signs. This new trajectory is positioned both as a methodological tool and as an innovative milestone in the construction of a more logical episteme in Prehistory, taking lithics both as signs of past human activity and of archaeological representations.

The authors present preliminary results from a new research project based in Jebel Shaqadud, Sudan. Their findings highlight the potential for this region's archaeological record to expand our understanding of the adaptation strategies used by human groups in arid north-east African environments away from rivers and lakes during the Holocene. Furthermore, they present exceptionally early radiocarbon dates that push postglacial human occupation in the eastern Sahel back to the twelfth millennium BP.

Artificial illumination is a fundamental human need. Burning wood and other materials usually in hearths and fireplaces extended daylight hours, whilst the use of flammable substances in torches offered light on the move. It is increasingly understood that pottery played a role in light production. In this study, we focus on ceramic oval bowls, made and used primarily by hunter-gatherer-fishers of the circum-Baltic over a c. 2000 year period beginning in the mid-6th millennium cal bc. Oval bowls commonly occur alongside larger (cooking) vessels. Their function as ‘oil lamps’ for illumination has been proposed on many occasions but only limited direct evidence has been secured to test this functional association. This study presents the results of molecular and isotopic analysis of preserved organic residues obtained from 115 oval bowls from 25 archaeological sites representing a wide range of environmental settings. Our findings confirm that the oval bowls of the circum-Baltic were used primarily for burning fats and oils, predominantly for the purposes of illumination. The fats derive from the tissues of marine, freshwater, and terrestrial organisms. Bulk isotope data of charred surface deposits show a consistently different pattern of use when oval bowls are compared to other pottery vessels within the same assemblage. It is suggested that hunter-gatherer-fishers around the 55th parallel commonly deployed material culture for artificial light production but the evidence is restricted to times and places where more durable technologies were employed, including the circum-Baltic.

This paper presents results of accelerator mass spectrometry radiocarbon (AMS 14C) dating of prehistoric samples (human and animal bones, cremated human bones, charcoals, and other charred plant macroremains) from archaeological sites located in the area of Dobużek Scarp, on the Sokal Ridge in central-eastern Poland (E Poland). The date list reports 46 14C age measurements performed within the project “The Dobużek Scarp Microregion as a part of a physiological and biocultural frontier between the Baltic and the Pontic zone (from the 6th to the 2nd millennium BC)” conducted in 2016–2021. The resulting 14C dates fall into quite a long interval, which in terms of the regional archaeological periodization lasts from the Middle Eneolithic to the Early Iron Age, and in terms of the climatological one corresponds with the Subboreal.