This volume is based on the Field Museum of Natural History Spring System atics Symposium held in Chicago on May 11, 1991. The financial support of Ray and Jean Auel and of the Field Museum is gratefully acknowledged. When we teach or write, we present only those elements that support our arguments. We avoid all weak points of our debate and all the uncer tainties of our models. Thus, we offer hypotheses as facts. Multiauthored books like ours, which simultaneously advocate and question diverse views, avoid the pitfalls and lessen the impact of indoctrination. In this volume we analyze the anthropological and biological disagreements and the positions taken on the origins of modern humans, point out difficultieswith the inter pretations, and suggest that the concept of the human origin can be explained only when we first attempt to define Homo sapiens sapiens. One of the major controversies in physical anthropology concerns the geographic origin of anatomically modern humans. It is undisputed, due to the extensive research of the Leakeys and their colleagues, that the family Hominidae originated in Africa, but the geographic origin of Homo sapiens sapiens is less concretely accepted. Two schools of thought existon this topic.

Two of the greatest living authorities on Ice Age art delve hundreds of thousands of years into the human past to discover the earliest works of art ever made, drawing on decades of new research Where is the world’s very first art located? When, and why, did people begin experimenting with different materials, forms, and colors? Prehistorians have long been asking these questions, but only recently have they been able to piece together the first chapter in the story of art. Overturning the traditional Eurocentric vision of our artistic origins, Paul Bahn and Michel Lorblanchet seek out the earliest art across the whole world. There are clues that even three million years ago distant human ancestors were drawn to natural curiosities that appeared representational, such as the face-like “Makapansgat cobble" from South Africa, not carved but naturally weathered to resemble a human face. In the last hundred thousand years people all over the world began to create art: the oldest known paint palettes in South Africa’s Blombos Cave, the famous Venus figures across Europe all the way to Siberia, and magnificent murals on cave walls in every continent except Antarctica. This book is the first to assess the discovery, history, and significance of these varied forms of art: the artistic impulse developed in the human mind wherever it traveled.

A number of researchers have tried to characterise the anatomy and behavioural systems of early hominid and early modern human populations in an attempt to understand how we became what we are. Can archaeology, palaeo-anthropology and genetics tell us how and when human cultures developed the traits that make our societies different from those of our closest living relatives? In which cases are these differences substantial, and when do they simply reflect our definitions of culture, species, the image we have of their evolution or of ourselves? From Tools to Symbols, a collection of twenty-seven selected papers from a South African-French conference organised in honour of the well-known palaeo-anthropologist Phillip Tobias, provides a multidisciplinary overview of this field of study. It is based on collaborative research conducted in sub-Saharan Africa by South African, French, American and German scholars in the last twenty years, and represents an excellent synthesis of the palaeontological and archaeological evidence of the last five million years of human evolution.

This volume, with essays by leading archaeologists and prehistorians, considers how prehistoric humans attempted to recognise, understand and conceptualise death.

A fresh and authoritative study of the ornaments recovered from the Franchthi Cave sediments, with illustrations included. The famous Franchthi Cave excavations in Greece brought to light an exceptionally long sequence of ornaments, spanning from the earliest Upper Palaeolithic to the end of the Neolithic. This volume focuses on the Palaeolithic and Mesolithic ornaments and ornamental species, which constitute one of the largest collections in Europe for these periods combined. Franchthi is one of the few identified production centers for ornaments, which are overwhelmingly dominated by marine molluscs. The detailed publication of these collections (Cyclope neritea, Antalis sp. and Columbella rustica) will be useful to all malacologists and specialists in ornaments working around the Mediterranean. These reference collections, coupled with the examination of manufacturing and wear traces on the archaeological specimens, allow a detailed reconstruction of the whole production cycle from procurement to discard. The systematic association of unworked, freshly worked, and very worn shells suggests that the ornaments mostly served for the production or rejuvenation of embroidered garments. Despite the richness of the assemblages and varied local resources, the range of ornament types is surprisingly narrow and fundamentally stable through time. The ornaments from Franchthi Cave therefore paint a different portrait of the European Upper Palaeolithic and Mesolithic, one based on regional cultural continuity.