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Much research has been carried out on identifying gendered iconography on statue-menhirs. This paper seeks to develop this perspective by considering the broader body concepts. Body concepts are of interest to archaeologists because they are closely connected to issues of sex, gender, and age. By investigating stone sculptures, however, we are looking at an ideological view of the body that was produced by reducing the stone from its natural form into a statue-menhir. The presence of bodily features on the statue-menhirs suggests that it was important to construct a body, and that certain aspects of the body were chosen to be represented, either through the size and shape of the stone or iconography, while others were neglected. We propose this is a significant means by which stones were made into bodies and gendered beings. To investigate body concepts, we pose two questions: how was a statue-menhir body made, and how was it gendered? By following the reduction sequence of the stone as the technique of production, we investigate which bodily features were important in constructing a body and in gendering it. We do this through analysing and comparing three regional examples of anthropomorphic statue-menhirs: (1) The Lunigiana groups A and B in northwestern Tuscany and eastern-most Liguria, (2) the Atesino group in Trentino-Alto Adige, and (3) the Sion Type A in the Swiss Valais and the Aosta Style I in northern Italy. Although there is a shared statue-menhir tradition in the three regions and beyond, the observations in this paper suggest that the bodily gender categories were negotiated regionally. [ABSTRACT FROM AUTHOR]

The aim of this article is to investigate the sight, sound, smell and touch of different cloth types in the Late Ertebølle of southern Scandinavia and to argue that such an approach provides stimulating new insights into an area of material culture that has previously been studied by archaeologists in a highly empirical manner. The archaeological evidence drawn together in this article points to this as a time when furs and skin products were of prime importance and plant fibres were the basis for knotted nets, looped cloth and basketry. In the archaeological literature these cloth types are usually treated separately and described according to the species of raw materials, such as pine marten fur, or the technology of their production, such as couched button-hole stitch. Using an experiment where participants are asked to handle modern cloth types and answer structured questionnaires, it is possible to create a sensory description of these cloth types. These descriptive results are then used to reconsider aspects of cloth and clothing in the Late Ertebølle of southern Scandinavia. By moving from the standard technological description to a sensory description, the Mesolithic cloth types investigated in this article are placed within a sensory and phenomenological theoretical framework. The presentation of these results seeks to provide a new description of these materials and allow archaeologists to revaluate the culturally-embedded nature of cloth and clothing at that time. [ABSTRACT FROM PUBLISHER]

The aim of this research is to compare the cloth cultures of Europe and Egypt in the Bronze Age and New Kingdom. The comparison focuses on the fourteenth century cal BC and includes four geographically separate areas, including the oak coffin burials of southern Scandinavia, the Hallstatt salt mines of central Europe, Late Minoan Crete, and the tombs and towns of the later Eighteenth Dynasty of Egypt. The comparative approach can bring insights even when applied to unconnected cultures or regions. However, in this study I concentrate on a restricted chronological period and areas that were connected, directly or indirectly, by widespread networks of trade or exchange. The concept of cloth cultures is used to include both textiles and animal skins as these were closely related materials in the prehistoric past. Information was gathered according to the following categories: raw materials, including textile fibre, and species of skins; fabric structure and thread count (only for textiles); decoration and finish; and use and context. From this study, it is possible to recognize the universally shared principles of cloth cultures and the great versatility and creativity in the regional cloth cultures of the Bronze Age. [ABSTRACT FROM AUTHOR]