The Olsztyn Group in the Early Medieval Archaeology of the Baltic Region: The Cemetry at Leleszki deals with a much neglected problem of the archaeology of the early Middle Ages. Between the 5th and the 7th century, the region of the Mazurian Lakes in northeastern Poland witnessed the rise of communities engaged in long-distant contacts with both Western and Eastern Europe. Known as the Olsztyn Group, the archaeological remains of those communities have revealed a remarkable wealth and diversity, which has attracted scholarly attention for more than 130 years. Besides offering a survey of the current state of research on the Olsztyn Group, Mirosław Rudnicki introduces the monographic study of the Leleszki cemetery (district of Szczytno, Poland) as one of the most representative sites. The prosperity and long-distance contact revealed by the examination of this cemetery shows that the West Baltic tribes had considerable influence in early medieval Europe, much more than scholars had been ready to admit until now.
Focusing on the role of arts in the construction of national identity, Suzanne Pourchier-Plasseraud has chosen to study the case of a country lacking an ancient state history of its own, Latvia. This book analyses the part played by the visual arts in transmuting the cultural concept of a nation, advocated by a small intelligentsia, into a widespread claim for independence. By the end of the 19th century, fretting under Russian political domination and German economic and cultural supremacy, the Latvians turned back to their own language, culture and folklore, with a special interest for their
dainas, their timeless common heritage rooted into a mythical golden age. Latvian artists thus found themselves entrusted with the mission of creating a national iconographic representation and a specifically Latvian art, freed from Russian and German influences. The author shows how the links between the cultural and political spheres evolved between 1905 and 1940, including during the period of authoritarian government preceding WWII. An enlightening contribution to understanding how art and history can be turned into social and political instruments, this book reaches far beyond the Latvian case to a European and even global scope.