Abstract
Since the discovery in the 19th century of the first stone tools and human fossil remains, Prehistory has established itself as an adventure that is both scientific and emotional. From the very beginning, it has captured the public’s interest, driven by knowledgeable enthusiasts, while artists and writers have embraced this still largely unknown past. Their works reflect both the imaginations of their time and an emerging body of knowledge. Scientists themselves have not been immune to these projections. Despite advances in methodology, prehistory remains permeated by representations and myths, as it touches on fundamental questions: humanity’s place in nature, and the origins of culture, language, and society. It explores not only what we once were but also what we believe ourselves to be—to the point that each era tends, in part, to invent its own Prehistory. Shaped by intellectual and political contexts, these inquiries explain the enduring power of this discipline, which remains a mirror of our own questions about the human condition.
