At this point, my presentation comes to a close, which is not to say that this page would be its ending. Every link on this page will bring you back straight into the middle of this work!

Suggestions for future research

My work is intended to stimulate future research in a variety of ways. Here are some tentative suggestions:

Possible wider implications of my argument

Apart from the immediate implication of my gaining a higher academic degree and starting an academic career, there are potentially various wider implications of my work:

Finally, what about the 'monumental past'?

I have borrowed the term from Nietzsche, but I have been uncertain from the beginning whether the connection to his work is meaningful for this work. Nietzsche uses the term 'monumental' in a metaphorical sense (1909: 17):

"The great moments in the individual battle form a chain, a high road for humanity through the ages, and the highest points of those vanished moments are yet great and living for men; and this is the fundamental idea of the belief in humanity, that finds a voice in the demand for a 'monumental' history."

'Monumental' is, for Nietzsche, a history that is petrified and buries the living (Young 1993: 4). But I use the term 'monumental past' in a different sense, referring to physically monumental ancient structures such as megaliths with which many living generations were, and indeed are, surrounded in their everyday lives and landscapes. Not all receptions of monuments refer to a great and 'monumental' past in the sense of Nietzsche. The link to Nietzsche thus leads nowhere.


Hodder, Ian (1997) 'Always momentary, fluid and flexible': towards a reflexive excavation methodology. Antiquity 71, 691–700.

Nietzsche, Friedrich (1909) The use and abuse of history [1873]. In: F.Nietzsche, Thoughts out of Season. Part II, pp. 3–100. The Complete Works of Friedrich Nietzsche. O.Levy (ed.), vol. 2, part 2. Edinburgh and London: Foulis.

Young, James E. (1993) The Texture of Memory. Holocaust, Memorials and Meaning. New Haven and London: Yale University Press.

© Cornelius Holtorf