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Titele in WoS: The metropolises of the Middle East

Title in English: Visual Manifestations of the Pious King Edward and the Few Women on the Bayeux Tapestry. – This article suggests that the appearances of Edward the Confessor on the Bayeux Tapes­try underline Duke William’s entitlement to the English throne and the weakness of Harold God­win­son’s claims. It is argued that King Edward might be depicted six times rather than five. A medi­aeval king had two bodies, one natural and the other with divine right to rule by God’s grace. In the first five re­presentations of Edward we witness the gradual decay and peaceful death of his natural body in sharp contrast to Harold Godwinson’s violent death later on the battlefield, and in the sixth, Duke William sits half hidden by a man closely resembling Edward. This might be Edward’s spiritual poli­tical body sustaining William’s divine right to the English throne. – The gender balance for indi­viduals depicted on the Bayeux Tapestry is 99 % men and 1 % women. Of the total of six women the three in the main register are high status persons who appear near important buildings, depicted as mis­tress (probably), wife or mother. Three other women appear in erotic scenes in the margins, but their lack of clothes and attributes makes it difficult to determine their identity.

ISBN: 978-87-93108-38-7

In this study, 110 Swedish upper secondary students use a historical database designed for research. We analyze how they perceive the use of this digital tool in teaching and if they are able to use historical thinking and historical empathy in their historical writing and presentations. Using case-study methodology including questionnaires, observations, interviews and text analysis we find this to be a complex task for students. Our results highlight technological problems and problems in contextualizing historical evidence. However, students show interest in using primary sources and ability to use historical thinking and historical empathy, especially older students in more advanced courses when they have time to reflect upon the historical material. Media Places

One of the most famous finds from the earliest historical period of the cityof Ribe (southern Jutland, Denmark) is the fragment of a human skull, with adrilled hole, that has a relatively long runic inscription incised on one surface.Scholars have discussed the reading, interpretation and dating of the runesever since the piece was excavated in 1973. In the present article, the findcircumstances and other archaeological background information is presented;they permit the time of loss or deposition of the runic object to be narroweddown with great probability to the years A.D. 725–50.

All countries that manage nuclear waste will need to store it for a long time. When all the reactors in Sweden have been taken out of use there will be around 12,000 tonnes of highly radioactive waste. For the future safety of humans and nature, the plan is to store the waste for 100,000 years in tunnels drilled 500 metres under ground. Once the waste is in place and the nal repositories are closed, society will be faced with the task of nding ways to keep knowledge of these places alive for a very long time to come. The task is unique. Never before has anyone created information and knowledge intended for someone thousands of years into the future. Between 2012 and 2015 we have worked with the project “One hundred thousand years back and forth – archaeology meets radioactive waste”. We have studied how one can think about past, present and future and about the resources that are needed if we are to be able to envisage a future extending over thousands of years. From a theoretical discussion on the concept of future consciousness, we argue that nal repositories for nuclear waste must be built in a exible manner to be able to work in different ways in relation to many different futures. Storage of radioactive waste embraces noticeable aspects of materiality, and relevant planning and decision-making processes can bene t from archaeological expertise. Long-time nal repositories of nuclear waste also pose challenges to contemporary archaeology. Various ways to conceptualize futures are part of our contemporary society. This has not been studied to any great extent within the eld archaeology of the contemporary world. It is likely that we will hear more in time to come about future consciousness in contemporary archaeology, then in the form of future archaeology.  Ett hundra tusen år fram och bakåt i tiden. Arkeologi möter kärnbränsleförvaring

Orson Welles’ last film, F for Fake from 1973, not only doubles several figures from Clifford Irving’s biography of the forger Elmyr de Hory, the character ‘Orson Welles’ doubles the character ‘Elmyr de Hory’ as well in their common denominator as charlatans> Orson as a non-filming movie-maker, Elmyr as a non-artist painter and draughtsman. Whereas this for Orson was an intentional ambition in his film-making, it seems for Elmyr to have been an unintentional involutarism. As most artists, Elmyr strived for recognition of his own works under his own name. The problem was, however, that he did not have any real identity. With regard to quality, Hory could not really see the difference between a Modigliani portrait painted by Modigliani in 1910’s and another Modigliani portrait by Elmyr. This indifference towards the logic of artistic fame, established by different avantgardes, Hory probably had in common with all our lesser known artists, who thought that aesthetical qualities could be exchanged to artistic value. Elmyr’s paradoxical success – starting with Clifford Irving’s biography and Orson Welles’ film – illuminates a strategy for traditional or mediocre artists, to test artistic value, with a type of retrogardian chock-effect: reciprocal plagiarism. Med Orson Welles F for Fake undersøger vi, hvordan æstetisk kvalitet vil kunne indløses som kunstnerisk værdi. Hvis spørgsmålet er Elmyr de Hory, er svaret, at det koster intention og identitet.

To comprehend better the meaning of a runic monument as a complex phenomenon it is necessary to have knowledge of its original location in relation to the surrounding environment. Our knowledge of such initial locations varies. Some runestones still stand in the place where they were first erected. In other cases, the first placement is well documented even if the runestone has been moved or indeed lost; sometimes, however, the documentation indicates only a general placement. In several instances the original location is wholly unknown. There are eighty-two known runic monuments from the late Viking Age in an area called Tiohärad in southern Sweden. For twenty-nine of these only a secondary location, mostly in or near a church, is known. Some mention bridges and eleven are known to have been located near a passage of water (which presumably also indicates the presence of a road). At least sixteen more are found near a later road, and two of these mention a crossroad. Thirteen seem to have been found near farms or villages. In many cases, the monuments could have marked ancient boundaries. Of particular interest in these instances are the examples located at boundaries that not only border two farms, but also larger administrative areas. Of the fifty-two monuments with a known location, only eighteen have any connection to grave-fields.