Chapter 1
1p. 28 in Smith, C. 1992. The articulation of style and social structure in Australian Aboriginal art. Australian Aboriginal Studies 1992(1):28–34.
2The French philosopher Jean-Paul Sartre had previously developed such a dual method of historical investigation in an essay he published in 1957. It was eventually further developed in his book Questions de Méthode (Éditions Gallimard, Paris), translated in English in 1963 as Search for a Method (Alfred A. Knopf, New York).
3Taçon, P. S. C. and C. Chippindale 1998. An archaeology of rock-art through informed methods and formal methods. In C. Chippindale and P. S. C. Taçon (eds), The Archaeology of Rock-Art, pp. 1–10. Cambridge University Press, Cambridge.
4Eco, U. 1994. The Limits of Interpretation. Indiana University Press, Bloomington.
5Young, M. J. 1988. Signs From the Ancestors: Zuni Cultural Symbolism and Perceptions of Rock Art. University of New Mexico Press, Albuquerque.
Merlan, F. 1989. The interpretive framework of Wardaman rock art: A preliminary report. Australian Aboriginal Studies 1989(2):14–24.
6For a useful discussion of how during ethnographic times artworks articulate connections between Aboriginal people, Country and the spirit-beings who dwell within, see Caruana, W. 2012. Aboriginal Art (3rd ed.). Thames & Hudson, London.
7For example, see Layton, R. 1991. The Anthropology of Art. Cambridge University Press, Cambridge.
8Christian, D. 2004. Maps of Time: An Introduction to Big History. University of California Press, Berkeley.
9An interesting recent book on this topic is Brady, L. M. and P. S. C. Taçon (eds) 2016. Relating to Rock Art in the Contemporary World: Navigating Symbolism, Meaning and Significance. University Press of Colorado, Boulder.
Chapter 2
1p. 762 in Chen Zhao Fu 2001. Asia. In D. S. Whitley (ed.), Handbook of Rock Art Research, pp. 760–85. AltaMira Press, Walnut Creek.
2For one account of nineteenth- and early twentieth-century struggles to make sense of Palaeolithic art, see Moro Abadía, O. 2015. The reception of Palaeolithic art at the turn of the twentieth century: Between archaeology and art history. Journal of Art Historiography 12/OMA1. https://arthistoriography.files.wordpress.com/2015/06/moro-abadia.pdf
3Bahn, P. 1998. Prehistoric Art. Cambridge University Press, Cambridge.
Bahn, P. and J. Vertut 1997. Journey Through the Ice Age. Weidenfeld & Nicolson, London.
4Saura Ramos, P. A. (ed.) 1998. The Cave of Altamira. Harry N. Abrams, New York.
5Cartailhac, É. 1880. Congrès International d’Anthropologie et d’Archéologie Préhistoriques: Rapport sur la Session de Lisbonne. Eugene Boban, Paris. http://gallica.bnf.fr/ark:/12148/bpt6k6542057x/f7.image (see in particular the dismissive reporting on p. 76).
6Siret, L. 1913. Questions de Chronologie et d’Ethnographie Iberiques. Geuthner, Paris.
7Harlé, É. 1881. La grotte d’Altamira, près de Santander (Espagne). Matériaux pour l’Histoire Primitive et Naturelle de l’Homme (second series), 16(12):275–83. http://gallica.bnf.fr/ark:/12148/bpt6k4453295/f4.image
8Rivière, É. 1896. La Grotte de la Mouthe. Comptes Rendus Hebdomadaires des Séances de l’Académie des Sciences 123:543–46.
9Rivière, É. 1897. La grotte de la Mouthe (Dordogne). Bulletins de la Société d’Anthropologie de Paris 8:302–29.
10‘ma conviction était faite: les gravures de La Mouthe étaient des gravures préhistoriques’. Rivière, É. 1897. La grotte de la Mouthe (Dordogne). Bulletins de la Société d’Anthropologie de Paris 8, p. 314.
11Lawson, A. J. 2012. Painted Caves: Palaeolithic Rock Art in Western Europe. Oxford University Press, Oxford.
12See the reports by Émile Rivière referenced in Notes 8 and 9.
13‘Bref, nous croyons pouvoir dire, sans être démenti par aucun d’eux, que l’antiquité paléolithique de tous les dessins gravés et peints des trois grottes de La Mouthe, de Font-de-Gaume et des Combarelles ne laisse désormais aucun doute dans l’esprit de nos Collègues’. In É. Rivière 1902. Excursion de la section aux Eyzies. Association Française pour l’Avancement des Sciences. Montauban 1, p. 272.
14‘Il resort de tout ce qu’ils ont observé que nous n’avons plus aucune raison de suspecter l’antiquité des peintures d’Altamira. … Il faut s’incliner devant la réalité d’un fait, et, je dois pour ce qui me concerne, faire amende honorable à M. de Sautuola.’ In E. Cartailhac 1902, Les cavernes ornées de dessins, La Grotte d’Altamira (Espagne): Mea culpa d’un sceptique. L’Anthropologie 13, p. 354.
15Cartailhac, É. & H. Breuil 1903. Les peintures préhistoriques de la grotte d’Altamira à Santillane (Espagne). Comptes Rendus des Séances de l’Académie des Inscriptions et Belles-Lettres 46:256–65.
16Aujoulat, N. 2004. Lascaux: Le Geste, l’Espace et le Temps. Seuil, Paris.
17Delluc, B. and G. Delluc 2003. Lascaux Retrouvé. Pilote 24, Périgueux. Thaon-Coty 1940. Les figures peintes de la Grotte de Lascaux. Le Figaro 1 Novembre 1940:1–2.
18Many published accounts of the discovery of Lascaux speak of four youths and their dog Robot who was said to have fallen into a hole in the ground and thus needed rescuing, causing the discovery of the cave and its art. However, as explained by those four youths many years later, the dog did not fall down into the deep depression needing to be rescued, but was rather a member of a larger party of youths exploring and playing through the woods a few days before the discovery of the cave. The testimonies of a number of the youths have recently been listed and analysed in Brigitte and Gilles Delluc’s book Lascaux Retrouvé, see pp. 291–311 in particular.
19Bastian, F., V. Jurado, A. Nováková, C. Alabouvette and C. Saiz-Jimenez 2010. The microbiology of Lascaux Cave. Microbiology 156:644–52. doi: 10.1099/mic.0.036160-0
20Malraux, A. 1967. Antimémoires. Gallimard, Paris.
21Chauvet, J.-M., E. Brunel Deschamps, C. Hillaire, J. Clottes and P. Bahn 1996. Chauvet Cave: The Discovery of the World’s Oldest Paintings. Thames & Hudson, London. Quote is from pp. 36–40.
22See note 21.
23See note 21.
24Clottes, J. (ed.) 2001. La Grotte Chauvet: L’Art des Origines. Seuil, Paris.
25For a good discussion of the Australian Aboriginal notion of ‘Country’, see also Sutton, P. 1995. Country: Aboriginal Boundaries and Land Ownership in Australia. Aboriginal History Inc., Canberra.
Chapter 3
1Huguet, D. and S. Compoint (ed.) 2015. La Caverne du Pont d’Arc. Actes Sud Beaux Arts, Paris.
2David, B., J.-J. Delannoy, R. Gunn, E. Chalmin, G. Castets, F. Petchey, K. Aplin, M. O’Farrell, I. Moffat, J. Mialanes, J.-M. Geneste, B. Barker, B. Sadier, M. Katherine, M. Manataki and U. Pietrzak in press. Dating painted Panel E1 at Nawarla Gabarnmang, central Arnhem Land plateau. In B. David, P. Taçon, J.-J. Delannoy and J.-M. Geneste (eds), The Archaeology of Rock Art in Western Arnhem Land, Northern Australia. Terra Australis, ANU Press, Canberra.
Gunn, R., B. David, J.-J. Delannoy and M. Katherine in press. The past 500 years of rock art at Nawarla Gabarnmang, central Arnhem Land plateau. In B. David, P. Taçon, J.-J. Delannoy and J.-M. Geneste (eds), The Archaeology of Rock Art in Western Arnhem Land, Northern Australia. Terra Australis, ANU Press, Canberra.
3Delannoy, J.-J., B. David, J.-M. Geneste, M. Katherine, B. Sadier and R. Gunn in press. Engineers of the Arnhem Land plateau: Evidence for the origins and transformation of sheltered spaces at Nawarla Gabarnmang. In B. David, P. Taçon, J.-J. Delannoy and J.-M. Geneste (eds), The Archaeology of Rock Art in Western Arnhem Land, Northern Australia. Terra Australis, ANU Press, Canberra.
4David, B., B. Barker, F. Petchey, J.-J. Delannoy, J.-M. Geneste, C. Rowe, M. Eccleston, L. Lamb and R. Whear 2013. A 28,000 year old excavated painted rock from Nawarla Gabarnmang, northern Australia. Journal of Archaeological Science 41:1–9.
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9Brady, L., B. David, L. Manas and Mualgal (Torres Strait Islanders) Corporation 2003. Commemorating and teaching cultural awareness on Mua Island, Torres Strait. Australian Journal of Indigenous Education 31:41–49.
10Wilson, M., J. Sanhambath, P. Senembe, B. David, N. Hall, and M. Abong 2000. ‘Tufala kev blong devil’: People and spirits in North West Malakula, Vanuatu – implications for management. Conservation and Management of Archaeological Sites 4:151–66.
11See note 2.
12Harris, E. C. 1979. Principles of Archaeological Stratigraphy. Academic Press, London. For an early application of Harris Matrices to rock art, see Chippindale, C., J. de Jongh, J. Flood and S. Rufolo 2000. Stratigraphy, Harris matrices and relative dating of Australian rock-art. Antiquity 74:285–86. doi: 10.1017/S0003598X00059275
13See note 2.
14Roberts, R. G. and Z. Jacobs 2008. Dating in landscape archaeology. In B. David and J. Thomas (eds), Handbook of Landscape Archaeology, pp. 347–64. Left Coast Press, Walnut Creek.
15Wilson, M., M. Spriggs and E. Lawson 2001. Dating the rock art of Vanuatu: AMS radiocarbon determinations from abandoned mud-wasp nests and charcoal pigment found in superimposition. Rock Art Research 18:24–31.
16For an account of Lapita, see Kirch, P. V. 1996. The Lapita Peoples: Ancestors of the Oceanic World. Blackwell, Cambridge.
17See note 15.
18Watchman, A. L. and N. Cole 1993. Accelerator radiocarbon dating of plant-fibre binders in rock paintings from north-eastern Australia. Antiquity 67:355–58.
19Watchman, A. L., B. David, I. J. McNiven and J. M. Flood 2000. Micro-archaeology of engraved and painted rock surface crusts at Yiwarlarlay (the Lightning Brothers site), Northern Territory, Australia. Journal of Archaeological Science 27:315–25.
20Watchman, A. L., S. O’Connor and R. Jones 2005. Dating oxalate minerals 20–45 ka. Journal of Archaeological Science 32:369–74.
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22See note 21.
23Aubert, M., S. O’Connor, M. McCulloch, G. Mortimer, A. Watchman and M. Richer-LaFlèche 2006. Uranium-series dating rock art in East Timor. Journal of Archaeological Science 34:991–96.
24Taçon, P. S. C., M. Aubert, L. Gang, Y. Decong, L. Hong, S. K. May, S. Fallon, J. Xueping, D. Curnoe and A. I. R. Herries 2012. Uranium-series age estimates for rock art in southwest China. Journal of Archaeological Science 39:492–99. doi: 10.1016/j.jas.2011.10.004
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26Aubert, M., A. Brumm, M. Ramli, T. Sutikna, E. W. Saptomo, B. Hakim, M. J. Morwood, G. D. van den Bergh, L. Kinsley and A. Dosseto 2014. Pleistocene cave art from Sulawesi, Indonesia. Nature 514:223–27.
27Cheng, H., R. L. Edwards, J. Hoff, C. D. Gallup, D. A. Richards and Y. Asmerom 2000. The half-lives of uranium-234 and thorium-230. Chemical Geology 169:17–33.
28Bednarik, R. 2002. The dating of rock art: A critique. Journal of Archaeological Science 29:1213–33. http://www.idealibrary.com
29See note 23.
30See note 24.
31See note 26.
32Smith, M. A., B. Fankhauser and M. Jercher 1998. The changing provenance of red ochre at Puritjarra rockshelter, Central Australia: Late Pleistocene to present. Proceedings of the Prehistoric Society 64:275–92.
33Smith, M. A. and S. Pell 1997. Oxygen-isotope ratios in quartz as indicators of the provenance of archeological ochres. Journal of Archaeological Science 24:773–78.
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Chapter 5
1For further evidence of the expansion of early modern humans out of Africa via Arabia, see for example Armitage, S. J., S. A. Jasim, A. E. Marks, A. G. Parker, V. I. Usik and H.-P. Uerpmann 2011. The Southern Route ‘Out of Africa’: Evidence for an early expansion of modern humans into Arabia. Science 331:453–56.
2Reyes-Centeno, H., M. Hubbe, T. Hanihara, C. Stringer and K. Harvati in press. Testing modern human out-of-Africa dispersal models and implications for modern human origins. Journal of Human Evolution. doi: 10.1016/j.jhevol.2015.06.008
3Henshilwood, C. S., F. d’Errico, K. L. van Niekerk, Y. Coquinot, Z. Jacobs, S.-E. Lauritzen, M. Menu and R. García-Moreno 2011. A 100,000-year-old ochre-processing workshop at Blombos Cave, South Africa. Science 334: 219–22.
4Jacobs, Z., R. G. Roberts, R. F. Galbraith, H. J. Deacon, R. Grün, A. Mackay, P. Mitchell, R. Vogelsang, L. Wadley 2008. Ages for the Middle Stone Age of southern Africa: Implications for human behavior and dispersal. Science 322:733–35.
5Wadley, L., C. Sievers, M. Bamford, P. Goldberg, F. Berna and C. Miller 2011. Middle Stone Age bedding construction and settlement patterns at Sibudu, South Africa. Science 334:1388–91.
6d’Ericco, F., R. G. Moreno and R. F. Rifkin 2012. Technological, elemental and colorimetric analysis of an engraved ochre fragment from the Middle Stone Age levels of Klasies River Cave 1, South Africa. Journal of Archaeological Science 39:942–52.
7Henshilwood, C. S., F. d’Ericco and I. Watts 2009. Engraved ochres from the Middle Stone Age levels at Blombos Cave, South Africa. Journal of Human Evolution 57: 27–47.
8Texier, P.-J., G. Porraz, J. Parkington, J.-P. Rigaud, C. Poggenpoel, C. Miller, C. Tribolo, C. Cartwright, A. Coudenneau, R. Klein, T. Steele and C. Verna 2010. A Howiesons Poort tradition of engraving ostrich eggshell containers dated to 60,000 years ago at Diepkloof Rock Shelter, South Africa. Proceedings of the National Academy of Sciences of the United States of America 107: 6180–85.
Texier, P.-J., G. Porraz, J. Parkington, J.-P. Rigaud, C. Poggenpoel and C. Tribolo 2013. The context, form and significance of the MSA engraved ostrich eggshell collection from Diepkloof Rock Shelter, Western Cape, South Africa. Journal of Archaeological Science 40:3412–31.
Henshilwood, C. S., K. L. van Niekerk, S. Wurz, A. Delagnes, S. Armitage, R. Rifkin, K. Douze, P. Keene, M. Haaland, J. Reynard, E. Discamps and S. Mienies 2014. Klipdrift Shelter, southern Cape, South Africa: Preliminary report on the Howiesons Poort levels. Journal of Archaeological Science 45:284–303.
9Vogelsang, R., J. Richter, Z. Jacobs, B. Eichhorn, V. Linseele and R. G. Roberts 2010. New excavations of Middle Stone Age deposits at Apollo 11 Rockshelter, Namibia: Stratigraphy, archaeology, chronology and past environments. Journal of African Archaeology 8:185–218.
10Bednarik, R.G. 2015. The significance of the earliest beads. Advances in Anthropology 5:51–66. doi: 10.4236/aa.2015.52006
11Hovers, E., B. Vandermeersch and O. Bar-Yosef 1997. A Middle Palaeolithic engraved artefact from Qafzeh Cave, Israel. Rock Art Research 14:79–87.
12Hovers, E., S. Ilani, O. Bar-Yosef and B. Vandermeersch 2003. An early case of color symbolism: ochre use by modern humans in Qafzeh Cave. Current Anthropology 44:491–522.
13Roberts, R. G., R. Jones, N. A. Spooner, M. J. Head, A. S. Murray and M. A. Smith 1994. The human colonisation of Australia: Optical dates of 53,000 and 60,000 years bracket human arrival at Deaf Adder Gorge, Northern Territory. Quaternary Science Reviews 13(5–7):575–83.
Clarkson, C., M. Smith, B. Marwick, R. Fullagar, L. A. Wallis, P. Faulkner, T. Manne, E. Hayes, R. G. Roberts, Z. Jacobs, X. Carah, K. M. Lowe, J. Matthews and S. A. Florin 2015. The archaeology, chronology and stratigraphy of Madjedbebe (Malakunanja II): A site in northern Australia with early occupation. Journal of Human Evolution 83:46–64.
14O’Connor, S. and B. Fankhauser 2001. Art at 40,000 bp? One step closer: An ochre covered rock from Carpenter’s Gap Shelter 1, Kimberley region, Western Australia. In A. Anderson, I. Lilley and S. O’Connor (eds), Histories of Old Ages: Essays in Honour of Rhys Jones, pp. 287–300. Pandanus Books, Australian National University, Canberra.
New carbon dates extending the original age determinations for Carpenter’s Gap have recently been published; a useful article is Hiscock, P., S. O’Connor, J. Balme and T. Maloney 2016. World’s earliest ground-edge axe production coincides with human colonisation of Australia. Australian Archaeology 82(1):2–11. doi: 10.1080/03122417.2016.1164379 For an interesting discussion of what the arrival of modern humans in Australia around 50,000 years ago means for global understandings of human evolution, see Balme, J., I. Davidson, J. McDonald, N. Stern and P. Veth 2009. Symbolic behaviour and the peopling of the southern arc route to Australia. Quaternary International 202:59–68.
Chapter 6
1For a broad discussion of the history of the idea of ice ages, see Krüger, T. 2013. Discovering the Ice Ages: International Reception and Consequences for a Historical Understanding of Climate. Brill, Leiden.
For technical details of changes in ice cover during the Pleistocene, see for example EPICA community members 2004. Eight glacial cycles from an Antarctic ice core. Nature 429:623–28.
2Nesbitt, S. 2001. Venus figurines of the Upper Paleothic. Totem: The University of Western Ontario Journal of Anthropology 9(1). http://ir.lib.uwo.ca/totem/vol9/iss1/6 Tringham, R. and M. Conkey 1998. Rethinking figurines: A critical view from archaeology of Gimbutas, the ‘Goddess’ and popular culture. In L. Goodison and C. Morris (eds), Ancient Goddesses: The Myths and the Evidence, pp. 22–45. British Museum Press, London.
3Pike, A. W. G., D. L. Hoffmann, M. García-Diez, P. B. Pettitt, J. Alcolea, R. De Balbín, C. González-Sainz, C. de las Heras, J. A. Lasheras, R. Montes and J. Zilhão 2012. U-series dating of Paleolithic art in 11 caves in Spain. Science 336:1409–13.
4Sauvet, G., R. Bourrillon, M. Conkey, C. Fritz, D. Garate, O. Rivero, G. Tosello and R. White 2015. Uranium–thorium dating method and Palaeolithic rock art. Quaternary International. doi: 10.1016/j.quaint.2015.03.053 Pont-Branchu, E., M. Fontugne, V. Michel and H. Valladas 2015. Comment on: ‘Uranium–thorium dating method and Palaeolithic rock art’ by Sauvet et al. (2015, in press). Quaternary International. doi: 10.1016/j.quaint.2015.10.015
5Reimer, P. J., E. Bard, A. Bayliss, J. W. Beck, P. G. Blackwell, C. Bronk Ramsey, C. E. Buck, C. E., H. Cheng, R. L. Edwards, M. Friedrich, P. M. Grootes, T. P. Guilderson, H. Haflidason, I. Hajdas, C. Hatté, T. J. Heaton, D. L. Hoffmann, A. G. Hogg, K. A. Hughen, K. F. Kaiser, B. Kromer, S. W. Manning, M. Niu R. W. Reimer, D. A. Richards, E. M. Scott, J. R. Southon, R. A. Staff, C. S. M. Turney and J. van der Plicht 2013. IntCal13 and Marine13 radiocarbon age calibration curves, 0–50,000 years cal bp. Radiocarbon 55(4):1869–87.
6For a useful commentary, see Appenzeller, T. 2013. Old masters. Nature 497:302–04.
7Clottes, J. 2001. Epilogue: Chauvet Cave today. In J.-M. Chauvet, E. Brunel-Deschamps and C. Hillaire, Chauvet Cave: The Discovery of the World’s Oldest Paintings, pp. 89–127. Thames & Hudson, London.
8Clottes, J. (ed.) 2001. La Grotte Chauvet: L’Art des Origines. Seuil, Paris.
9See note 8.
10Pettitt, P. and P. Bahn 2015. An alternative chronology for the art of Chauvet cave. Antiquity 89: 542–53.
11Quiles, A., H. Valladas, H. Bocherens, E. Delqué-Količ, E. Kaltnecker, J. van der Plicht, J.-J. Delannoy, V. Feruglio, C. Fritz, J. Monney, M. Philippe, G. Tosello, J. Clottes and J.-M. Geneste 2016. A high-precision chronological model for the decorated Upper Paleolithic cave of Chauvet-Pont d’Arc, Ardèche, France. Proceedings of the National Academy of Sciences of the USA 113:4670–75.
12Sadier, B., J.-J. Delannoy, L. Benedetti, D. L. Bourlès, S. Jaillet, J.-M. Geneste, A.-E. Lebatard and M. Arnold 2012. Further constraints on the Chauvet Cave artwork elaboration. Proceedings of the National Academy of Sciences of USA 109:8002–06.
13Rappenglück, M. A. 2002. The claviform P-sign a time unit? Interpreting a Palaeolithic symbol. In Istorija i kultura vostoka Asii. Tom I: Materialy meždunarodnoj naucnoj konferenzii Novosibirsk, 9-11 dekabrja 2002 g, pp. 224–29. Institut archeologii i etnografii SO RAN, Novosbirisk.
14Conkey, M. W. 1980. The identification of prehistoric hunter-gatherer aggregation sites: The case of Altamira. Current Anthropology 21:609–30.
15Michel Lorblanchet has undertaken a masterful recording and analysis of Cougnac, published in detail in Lorblanchet, M. 2010. Art Pariétal: Grottes Ornées du Quercy. Éditions de Rouergue, Rodez. Many of the details of the layout of the site come from this book.
16Bégouën, R., C. Fritz, G. Tosello, J. Clottes, A. Pastoors and F. Faist 2009. Le Sanctuaire Secret des Bisons: Il y a 14,000 Ans, dans la Caverne du Tuc d’Audoubert. Somogy Editions d’Art, Paris.
17Lorblanchet, M., M. M. Labeau and J. L. Vernet 1988. Première etude des pigments des grottes ornées quercinoises. Préhistoire Quercinoise 3:79–94.
Lorblanchet, M., M. M. Labeau, J. L. Vernet, P. Fitte, H. Valladas, H. Cachier and M. Arnold 1990. Palaeolithic pigments in the Quercy, France. Rock Art Research 7:4–20. Chalmin, E., M. Menu, M.-P. Pomiès, C. Vignaud, N. Aujoulat and J.-M. Geneste 2004. Les blasons de Lascaux. L’Anthropologie 108:571–92.
18Clottes, J., M. Menu and P. Walter 1990. New light on the Niaux paintings. Rock Art Research 7: 21–26.
19Benazzi, S., K. Douka, C. Fornai, C. C. Bauer, O. Kullmer, J. Svoboda, I. Pap, F. Mallegni, P. Bayle, M. Coquerelle, S. Condemi, A. Ronchitelli, K. Harvati and G. W. Weber 2011. Early dispersal of modern humans in Europe and implications for Neanderthal behavious. Nature 479:525–28.
20Trinkaus, E., O. Moldovan, Ş. Milota, A. Bîlgǎr, L. Sarcina, S. Athreya, S. E. Bailey, R. Rodrigo, G. Mircea, T. Higham, C. Bronk Ramsey and J. van der Plicht 2003. An early modern human from the Peştera cu Oase, Romania. Proceedings of the National Academy of Sciences of USA 100: 11,231–36.
21Higham, T., T. Compton, C. Stringer, R. Jacobi, B. Shapiro, E. Trinkaus, B. Chandler, F. Gröning, C. Collins, S. Hillson, P. O’Higgins, C. FitzGerald and M. Fagan 2011. The earliest evidence for anatomically modern humans in northwestern Europe. Nature 479:521–24.
22Clottes, J. and J. Courtin 1996. The Cave Beneath the Sea: Paleolithic Images at Cosquer. Harry N. Abrams, New York.
23Baffier, D. and M. Girard 1998. Les Cavernes d’Arcy-sur-Cure. La Maison des Roches, Paris. Baffier, D. and M. Girard 2007. La Grande Grotte d’Arcy-sur-Cure. Les Dossiers d’Archéologie 324:74–85.
Chapter 7
1Rifkin, R. F., C. S. Henshilwood and M. M. Haaland 2015. Late Pleistocene figurative art mobilier from Apollo II Cave, Karas Region, Southern Namibia. South African Archaeological Bulletin 70 (201): 113–23.
Wendt, W. E. 1974. ‘Art mobilier’ from the Apollo 11 Cave, South West Africa: Africa’s oldest dated works of art. South African Archaeological Bulletin 31 (121/122):5–11.
2Flood, J. 1997. Rock Art of the Dreamtime. Angus and Robertson, Sydney.
3Lewis, D. 1988. The Rock Paintings of Arnhem Land, Australia: Social, Ecological and Material Culture Change in the Post-Glacial Period. BAR International Series 415. British Archaeological Reports, Oxford.
4Whitley, D. 1998. Finding rain in the desert: landscape, gender and far western North American rock-art. In C. Chippindale and P. S. C. Taçon (eds), The Archaeology of Rock-Art, pp. 11–29.
5Elliott, G. F. S. 1920. Prehistoric Man and His Story. Seeley, Service and Co. Ltd., London.
6McNiven, I. J. and L. Russell 2005. Appropriated Pasts: Indigenous Peoples and the Colonial Culture of Archaeology. AltaMira Press, Oxford.
7Gould, S. J. 1981. The Mismeasure of Man. W. W. Norton and Company, New York.
8Stone, A. 1997. Regional variation in Maya cave art. Journal of Cave and Karst Studies 59(1):33–42.
9Gay, C. 1967. Oldest cave paintings in the New World. Natural History 76(4):28–35.
10Stone, A. 1995. Images from the Underworld: Naj Tunich and the Tradition of Maya Cave Painting. University of Texas Press, Austin. The quotes in this section are from the above source. See also the writings of James E. Brady, in particular his unpublished doctoral dissertation, Brady, J. E. 1989. An Investigation of Maya Ritual Cave Use with Special Reference to Naj Tunich, Peten, Guatemala. University of California, Los Angeles. More easily accessible is the co-written illustrated article: Brady, J. E. and A. J. Stone 1986: Naj Tunich: Entrance to the Maya underworld. Archaeology 39(6): 18–25.
11Chase, A. F. and D. Z. Chase 1987. Investigations at the Classic Maya City of Caracol, Belize: 1985–1987. Monograph 3. Pre-Columbian Art Research Institute, San Francisco.
12Wilson, M., J. Sanhambath, P. D. Senembe, B. David, N. Hall and M. Abong 2000. ‘Tufala kev blong devil’: People and spirits in North West Malakula, Vanuatu – implications for management. Conservation and Management of Archaeological Sites 4:151–66.
13Also of interest here is the work of social anthropologist Howard Morphy, in particular: Morphy, H. 1991. Ancestral Connections: Art and an Aboriginal System of Knowledge. The University of Chicago Press, Chicago.
14Taylor, L. 1996. Seeing the Inside: Bark Painting in Western Arnhem Land, pp. 122–23. Clarendon Press, Oxford.
15Young, J. 1988. Signs from the Ancestors: Zuni Cultural Symbolism and Perceptions of Rock Art. University of New Mexico Press, Albuquerque.
16Brady, L. M. and J. J. Bradley 2016. ‘That painting now is telling us something’: Negotiating and apprehending contemporary meaning in Yanyuwa rock art, northern Australia. In L. M. Brady and P. S. C. Taçon (eds), Relating to Rock Art in the Contemporary World: Navigating Symbolism, Meaning and Significance. University Press of Colorado, Boulder.