More wide ranging, both geographically and chronologically, than any previous study, this well-illustrated book offers a new definition of Celtic art.

Tempering the much-adopted art-historical approach, D.W. Harding argues for a broader definition of Celtic art and views it within a much wider archaeological context. He re-asserts ancient Celtic identity after a decade of deconstruction in English-language archaeology.

Harding argues that there were communities in Iron Age Europe that were identified historically as Celts, regarded themselves as Celtic, or who spoke Celtic languages, and that the art of these communities may reasonably be regarded as Celtic art.

This study will be indispensable for those people wanting to take a fresh and innovative perspective on Celtic Art.

This book was written at a time when the older conventional diffusionist view of prehistory, largely associated with the work of V. Gordon Childe, was under rigorous scrutiny from British prehistorians, who still nevertheless regarded the 'Arras' culture of eastern Yorkshire and the 'Belgic' cemeteries of south-eastern Britain as the product of immigrants from continental Europe. Sympathetic to the idea of population mobility as one mechanism for cultural innovation, as widely recognized historically, it nevertheless attempted a critical re-appraisal of the southern British Iron Age in its continental context. Subsequent fashion in later prehistoric studies has favoured economic, social and cognitive approaches, and the cultural-historical framework has largely been superseded. Routine use of radiocarbon dating and other science-based applications, and new field data resulting from developer-led archaeology have revolutionized understanding of the British Iron Age, and once again raised issues of its relationship to continental Europe.

This book" "was written at a time when the older conventional diffusionist view of prehistory, largely associated with the work of V. Gordon Childe, was under rigorous scrutiny from British prehistorians, who still nevertheless regarded the Arras culture of eastern Yorkshire and the Belgic cemeteries of south-eastern Britain as the product of immigrants from continental Europe. Sympathetic to the idea of population mobility as one mechanism for cultural innovation, as widely recognized historically, it nevertheless attempted a critical re-appraisal of the southern British Iron Age in its continental context. Subsequent fashion in later prehistoric studies has favoured economic, social and cognitive approaches, and the cultural-historical framework has largely been superseded. Routine use of radiocarbon dating and other science-based applications, and new field data resulting from developer-led archaeology have revolutionized understanding of the British Iron Age, and once again raised issues of its relationship to continental Europe."

More wide ranging, both geographically and chronologically, than any previous study, this well-illustrated book offers a new definition of Celtic art.

Tempering the much-adopted art-historical approach, D.W. Harding argues for a broader definition of Celtic art and views it within a much wider archaeological context. He re-asserts ancient Celtic identity after a decade of deconstruction in English-language archaeology.

Harding argues that there were communities in Iron Age Europe that were identified historically as Celts, regarded themselves as Celtic, or who spoke Celtic languages, and that the art of these communities may reasonably be regarded as Celtic art.

This study will be indispensable for those people wanting to take a fresh and innovative perspective on Celtic Art.

Critics take for granted the importance of rhythm in poetry and prose, above all its capacity for suggesting states of mind, especially emotional states. But they are seldom clear what range of effects rhythm can reasonably be credited with, nor even, at times, what exactly the term refers to. Professor Harding here views these and allied problems from a psychological standpoint. Rhythm as a means of suggesting states of mind is discussed in the light of its being not merely something the reader listens to, but something he does, a system of movement. Throughout the book, the realities of spoken language take precedence of prosodic fictions, and emphasis is placed on the poet's organization of speech rhythms within a line of verse, metrical or free. Poetry and prose from the fifteenth to the twentieth century provide passages for illustration and analysis.

Excavated plans of roundhouses may compound multiple episodes of activity, design, construction, occupation, repair, and closure, reflecting successive stages of a building's biography. What does not survive archaeologically, through use of materials or methods that leave no tangible trace, may be as important for reconstruction as what does survive, and can only be inferred from context or comparative evidence. The great diversity in structural components suggests a greater diversity of superstructure than was implied by the classic Wessex roundhouses, including split-level roofs and penannular ridge roofs. Among the stone-built houses of the Atlantic north and west there likewise appears to have been a range of regional and chronological variants in the radial roundhouse series, and probably within the monumental Atlantic roundhouses too. Important though recognition of structural variants may be, morphological classification should not be allowed to override the social use of space for which the buildings were designed, whether their structural footprint was round or rectangular. Atlantic roundhouses reveal an important division between central space and peripheral space, and a similar division may be inferred for lowland timber roundhouses, where the surviving evidence is more ephemeral. Some larger houses were evidently byre-houses or barn houses, some with upper or mezzanine floor levels, in which livestock might be brought in or agricultural produce stored. Such 'great houses' doubtless served community needs beyond those of the resident extended family. The massively-increased scale of development-led excavations of recent years has resulted in an increased database that enables evaluation of individual sites in a wider landscape environment than was previously possible. Circumstances of recovery and recording in commercially-driven excavations, however, are not always compatible with research objectives, and the undoubted improvements in standards of environmental investigation are sometimes offset by shortcomings in the publication of basic structural or stratigraphic detail.

In contrast to Continental Europe, where the Iron Age is abundantly represented by funerary remains as well as by hill-forts and major centres, the British Iron Age is mainly represented by its settlement sites, and especially by houses of circular ground-plan, apparently in marked contrast to the Central and Northern European tradition of rectangular houses. In lowland Britain the evidence for timber round-houses comprises the footprint of post-holes or foundation trenches; in the Atlantic north and west, the remains of monumental stone-built houses survive as upstanding ruins, testimony to the building skills of Iron Age engineers and masons. D. W. Harding's fully illustrated study explores not just the architectural aspects of round-houses, but more importantly their role in the social, economic and ritual structure of their communities, and their significance as symbols of Iron Age society in the face of Romanization.

D.W. Harding was a rarity amongst literary critics since his academic career was passed as Professor of Psychology. Yet this professional occupation never obtruded. As Professor Knights writes in his Foreword, as a critic 'he was one of the most sanely subtle or subtly sane) of his generation'. His title essay, 'Regulated Hatred', altered the course of Austen criticism, and this selection from the best of his writing about his favourite author (some of it previously unpublished) will be an important landmark in Austen criticism.