The origins and evolution of modern humans has been the dominant interest in palaeoanthropology for the last decade, and much archaeological interpretation has been structured around the various issues associated with whether humans have a recent African origin or a more ancient one. While the archaeological record has been used to support or refute various aspects of the theories, and to provide a behavioural framework for different biological models, there has been little attempt to employ the evidence of stone tool technology to unravel phylogenetic relationships. Here we examine the evidence that the evolution of modern humans is integrally related to the development of the Upper Palaeolithic and similar technologies, and conclude that there is only a weak relationship. In contrast there is a strong association between the evolution and spread of modern humans and Grahame Clark's Mode 3 technologies (the Middle Stone Age/Palaeolithic). The implications of this for the evolution of Neanderthals, the multiple pattern of human dispersals, and the nature of cognitive evolution, are considered.

The last underground room at Pergouset is engraved with a variety of signs and a series of unreal, or distorted, animal figures that are presented as variations on several themes. These fantastic creations are the Pergouset monsters. A few similar depictions are known mostly from nearby caves, but as a group the Pergouset monsters are unparalleled in Franco-Cantabrian art. The engravings of Room IV contrast with the conventional Upper Palaeolithic animal depictions found in the three preceding rooms but the use of particular tricks of depiction, as much as the style of certain figures, makes it likely that the same artist drew both conventional figures and monsters. Conditions in the cave suggest that few, if any, visitors reached this last room. In the light of these circumstances the authors consider possible explanations for the occurrence of the monster engravings and their implications.

Carl Jung's analytic ideas on archetypes offer an approach to interpreting ancient meanings in the absence of historic records. The archetypes of the collective unconscious are said to maintain a uniformitarian consistency over time in form and meaning. Their recurrent expression in the vernacular arts, dreams, even film of recent times permits exploration of these same archetypes in ancient contexts. The theory is discussed and applied to three landscapes, archetypal landscapes of glacial wasteland, primordial sea and forest labyrinth.

This article discusses some aspects of the way the ancient Egyptians classified their world. The Egyptian method of representation aimed at showing things as they existed in the imagination of the artist who accordingly rendered them as they ‘really were’, and not as they were seen, that is, without having recourse to foreshortening, shadow, perspective. What is stored is a mental image of the prototype or ‘genus’ of the object. Linguistic and pictorial material provide evidence of the existence of inalienable properties of a given mental picture. Another set of components is the interactional properties. Both are grounded in the basic experience of the perceptual, motor and intellectual apparatus of the body. Their distribution is overlapping, because the factual inalienability of its own members is one of the first experiences of a child. While some aspects of the conceptual system and categorization grow out of this immediate experience, others can only be understood in terms of other types of experience, such as metaphors in the sense of Lakoff and Johnson. Hieroglyphs and art are discussed in terms of the notion of metaphorical structuring.

Archaeological approaches to death and commemoration which privilege the negotiation of power relationships can underestimate the importance of personal and emotional responses to bereavement and mortality. Remembrance of the dead of the First World War is often understood in terms of the promotion of nationalist ideologies, but emotional factors such as grief and shock were also involved in the shaping of commemorative responses. In this article, responses to the First World War at national, local, and individual levels are considered. I suggest that people select monuments, places and ways of remembering for their power to express intense and personal feelings.