Archaeology in the past century has seen a major shift from theoretical frameworks that treat the remains of past societies as static snapshots of particular moments in time to interpretations that prioritise change and variability. Though established analytical concepts, such as typology, remain key parts of the archaeologist’s investigative toolkit, data-gathering strategies and interpretative frameworks have become infused progressively with the concept that archaeology is living, in the sense of both the objects of study and the discipline as a whole. The significance for the field is that researchers across the world are integrating ideas informed by relational epistemologies and mutually constructive ontologies into their work from the initial stage of project design all the way down to post-excavation interpretation. This volume showcases examples of such work, highlighting the utility of these ideas to exploring material both old and new. The illuminating research and novel explanations presented contribute to resolving long-standing problems in regional archaeologies across Africa, Asia, Australia, Europe, and Oceania. In this way, this volume reinvigorates approaches taken towards older material but also acts as a springboard for future innovative discussions of theory in archaeology and related disciplines.

Since early discoveries of so-called Celtic Art during the 19th century, archaeologists have mused on the origins of this major art tradition, which emerged in Europe around 500 BC. Classical influence has often been cited as the main impetus for this new and distinctive way of decorating, but although Classical and Celtic Art share certain motifs, many of the design principles behind the two styles differ fundamentally. Instead, the idea that Celtic Art shares its essential forms and themes of transformation and animism with Iron Age art from across northern Eurasia has recently gained currency, partly thanks to a move away from the study of motifs in prehistoric art and towards considerations of the contexts in which they appear. This volume explores Iron Age art at different scales and specifically considers the long-distance connections, mutual influences and shared 'ways of seeing' that link Celtic Art to other art traditions across northern Eurasia. It brings together 13 papers on varied subjects such as animal and human imagery, technologies of production and the design theory behind Iron Age art, balancing pan-Eurasian scale commentary with regional and site scale studies and detailed analyses of individual objects, as well as introductory and summary papers. This multi-scalar approach allows connections to be made across wide geographical areas, whilst maintaining the detail required to carry out sensitive studies of objects.

Migrations constitute one of the most defining features of human history from the very beginning to the present. In recent years, the increasing application of ancient DNA and isotope studies has been revolutionising our understanding of past population movements, although the interpretation of the results is often still controversial. Rethinking Migrations in Late Prehistoric Eurasia provides an insight into cutting-edge research on late prehistoric migrations in Eurasia, integrating different strands of evidence and emphasising the need for combining bioarchaeological analyses with a solid theoretical and methodological background. The 15 chapters within the book range from the 3rd to the 1st millennia BC, with a geographical scope extending from Atlantic Europe to Central Asia. Case studies include a reassessment of large-scale migrations, but also high-resolution studies from micro-regions. Overall, the results offered in the volume reveal the extraordinary diversity of migrations in ancient Eurasia and the ways in which archaeology can contribute to wider discussions on past and present mobility.