This mode of structuralism was eventually done in by its all- embracing scope.
It could be true, but there was no way of knowing: How could you test a rule with no exceptions?
We are city dwellers, surrounded by angular buildings, following artificial rhythms of life, says Lorblanchet.
The scholarly study of Ice Age art began in the 1920s with the great French prehistorian Abbé Henri Breuil, who saw it as an expression of hunting magic.
Breuil based his conclusions on contemporary anthropological observations of the Arunta aborigines in central Australia.
Lorblanchet hopes his new approach will help answer that.
Lorblanchet’s recent bid to re-create one of the most important Ice Age images in Europe was an affair of the heart as much as the head.
The Quercy archeologist is interested in how the early artists went about painting.
Jean Clottes, another French archeologist, working in the Pyrenees, studies what their pigments were composed of.
The horse, the stag, and the ibex embodied maleness; the bison, the mammoth, and the ox embodied femaleness.
According to this structuralist interpretation, all caves were decorated systematically to reflect this male-female duality, which suffused the mythology of Upper Paleolithic people.
Stags often appeared in entranceways, ibex at the caves’ peripheries, and horses, bison, oxen, and mammoths in the main chambers.