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  • 1.
    Ranta, Michael
    et al.
    Sichuan Univ, Peoples Republic of China;Lund University, Sweden;Stockholm Univ, Sweden.
    Skoglund, Peter
    Linnaeus University, Faculty of Arts and Humanities, Department of Cultural Sciences.
    Redei, Anna Cabak
    Lund University, Sweden;Copenhagen Business Sch, Denmark.
    Persson, Tomas
    Lund University, Sweden.
    Levels of Narrativity in Scandinavian Bronze Age Petroglyphs2019In: Cambridge Archaeological Journal, ISSN 0959-7743, E-ISSN 1474-0540, Vol. 29, no 3, p. 497-516Article in journal (Refereed)
    Abstract [en]

    In Europe, Scandinavia holds the largest concentration of rock art (i.e. petroglyphs), created c. 5000-first century BC, many of them showing figurative and seemingly narrative representations. In this paper, we will discuss possible narratological approaches applied to these images. We might reasonably distinguish between three levels of pictorial narrativity: representations of (i) single events, understood as the transition from one state of affairs to another, usually involving (groups of) agents interacting; (ii) stories, e.g. particular sequences of related events that are situated in the past and retold for e.g. ideological or religious purposes; and (iii) by implication, master-narratives deeply embedded in a culture, which provide and consolidate cosmological explanations and social structures. Some concrete examples of petroglyphs will be presented and analysed from narratological and iconographical perspectives. We will as a point of departure focus on (i), i.e. single events, though we shall also further consider the possibility of narrative interpretations according to (ii) and (iii).

  • 2.
    Rédei, Anna Cabak
    et al.
    Lund University, Sweden.
    Skoglund, Peter
    Linnaeus University, Faculty of Arts and Humanities, Department of Cultural Sciences.
    Persson, Tomas
    Lund University, Sweden.
    Applying cartosemiotics to rock art: An example from Aspeberget, Sweden2019In: Social Semiotics, ISSN 1035-0330, E-ISSN 1470-1219, Vol. 29, no 4, p. 543-556Article in journal (Refereed)
    Abstract [en]

    This study aims to shed new light on the petroglyphs found at the site of Aspeberget 12 at the World Heritage site of Tanum, Sweden, from a semiotic perspective. We demonstrate the semiotics of power inherent in the arrangement of the petroglyphs. We start by describing the site in an archaeological way, in order to give an overview of the empirical material used in this case study. Against the backdrop of the overview, we introduce our analytical tools with reference to cartosemiotics, cultural semiotics and, Charles Sanders Peirce’s theory of signs. We suggest, in a tentative conclusion, that Aspeberget 12, as a type of“map”, displays a clear“Ego-culture”and a possible journey. We also suggest that the visual narratives at Aspeberget 12 represent the authority of the Ego-culture and its development. Details of thefigurative images such as ships, axes and spears might have been displayed as markers of the high technological standard of the Ego-culture, and thus of power.

  • 3.
    Skoglund, Peter
    Linnaeus University, Faculty of Arts and Humanities, Department of Cultural Sciences.
    Axes and Longdistance Trade: Scania and Wessex in the Early Second Millennium BC2017In: North Meets South: Theoretical Aspects on the Northern and Southern Rock Art Traditions in Scandinavia / [ed] Peter Skoglund, Johan Ling, Ulf Bertilsson, Oxford: Oxbow Books, 2017, p. 199-213Chapter in book (Refereed)
    Abstract [en]

    This paper discusses the occurrence of a number of axe images at Simrishamn in Scania and at Stonehenge in Wessex, all of which can bedated to the Arreton phase/Montelius’ period 1, 1750/1700–1500 BC. These two concentrations are the only major clusters of axe images in northern Europe dating to this time. In order to understand this situation a model is discussed, which implies that these two areas were linked by a network of people who traded in metal and amber. Amber collected along the coasts of the Baltic Sea went westwards, ending up as prestigious amber objectsin Wessex; in return metal was traded from England to south Scandinavia. The function and value of amber and metal was thus different in the two areas. It is argued that differences in the conceptualisation of metal are reflected in the ways axe images are arranged and displayed in Wessex and Scania.

  • 4.
    Skoglund, Peter
    Linnaeus University, Faculty of Arts and Humanities, Department of Cultural Sciences.
    Joakim Goldhahn . Sagaholm: north European Bronze Age rock art and burial ritual. 2016. viii+140 pages, numerous b&w illustrations. Oxford & Havertown (PA): Oxbow; 978-1-78570-264-8 paperback £36.2017In: Antiquity, ISSN 0003-598X, E-ISSN 1745-1744, Vol. 91, no 357, p. 818-819Article, book review (Other academic)
  • 5.
    Skoglund, Peter
    Linnaeus University, Faculty of Arts and Humanities, Department of Cultural Sciences.
    Review: The Metal Hoard from Pile in Scania Sweden: Place, Things, Time, Metals, and Worlds around 2000 BCE2018In: Kuml: Årbog for Jysk Arkæologisk Selskab, ISSN 0454-6245, p. 296-298Article, book review (Other academic)
  • 6.
    Skoglund, Peter
    Linnaeus University, Faculty of Arts and Humanities, Department of Cultural Sciences.
    Settlements, gathering places and burial grounds: Changes in landscape organisation around 1200 BC in Scania, southern Scandinavia2018In: Status og samfundsstruktur i yngre bronzealders kulturlandskab: Seminarrapport fra seminaret "Status og samfundsstruktur i yngre bronzealders kulturlandskab" afholdt i Viborg, 2.-3. marts 2016 / [ed] Sanne Boddum, Niels Terkildsen, Viborg: Viborg Museum , 2018, p. 49-58Chapter in book (Refereed)
  • 7.
    Skoglund, Peter
    Linnaeus University, Faculty of Arts and Humanities, Department of Cultural Sciences.
    Ships and adzes in Scandinavian rock art: a note on shipbuilding in the Bronze Age2017In: Lund archaeological review, ISSN 1401-2189, Vol. 23, p. 151-162Article in journal (Refereed)
    Abstract [en]

    The ship is the most prominent motif in south Scandinavian rock art. In relation to ships, different kinds of axe images also occur on many sites in eastern Sweden. However, many of these images display an S-shaped handle, which makes the traditional interpretation as an axe questionable. On the other hand, a characteristic of many adzes is their bent, or even S-shaped, handle. This strongly indicates that motifs with S-shaped handles represent adzes and not axes. The most important tool in the traditional shipwright’s toolset is the adze. In this paper it will be argued that notions about the shipbuilding process influenced the occurrence and arrangement of these motifs on the panels.

  • 8.
    Skoglund, Peter
    Linnaeus University, Faculty of Arts and Humanities, Department of Cultural Sciences.
    The Wild Boar in Scandinavian Rock Art2018In: Giving the past a future: Essays in archaeology and rock art; studies in honour of Dr. Phil. h.c. Gerhard Milstreu / [ed] James Dodd, Ellen Meijer, Oxford: Archaeopress, 2018, p. 112-120Chapter in book (Other academic)
    Abstract [en]

    This paper discusses the rather scanty evidences of boar images in south Scandinavian rock art, and relates them to some general notions concerning wild boar hunting andthe role of the boar in the European Bronze Age. Panels where representations of boars appear are discussed in detail. Based on these observations, it is argued that south Scandinavian rock art displaying boars should be viewed within the wider European context, where the wild boar was a prominent animal, frequently occurring in contexts underlining the ideals of male hunters: like bravery, risk-taking, and heroism.

  • 9.
    Skoglund, Peter
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Cultural Sciences.
    Bradley, Richard
    Nimura, Courtney
    Interpretations of footprints in the Bronze Age rock art of south Scandinavia2017In: Proceedings of the Prehistoric Society, ISSN 0079-497X, E-ISSN 2050-2729, Vol. 83, p. 289-303Article in journal (Refereed)
    Abstract [en]

    The Scandinavian landscape is littered with postglacial outcrops, many of which carry engraved motifs. Although drawings of ships are most often discussed, this paper focuses on representations of feet. In Northern Europe ship motifs are often associated with cosmologies based on the movement of the sun. This paper investigates whether drawings of feet could have been associated with the same worldview. A number of interpretations are offered of the images at two sites in different parts of Sweden: Järrestad 13:1 and Boglösa 138:1.

  • 10.
    Skoglund, Peter
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Cultural Sciences.
    Ling, Johan
    University of Gothenburg.
    Introduction2017In: North Meets South: Theoretical Aspects on the Northern and Southern Rock Art Traditions in Scandinavia / [ed] Peter Skoglund, Johan Ling, Ulf Bertilsson, Oxford: Oxbow Books, 2017, p. VII-XChapter in book (Refereed)
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