In Europe, Scandinavia holds the largest concentration of rock art (i.e. petroglyphs), created c. 5000–first century bc, many of them showing figurative and seemingly narrative representations. In this paper, we will discuss possible narratological approaches applied to these images. We might reasonably distinguish between three levels of pictorial narrativity: representations of (i) single events, understood as the transition from one state of affairs to another, usually involving (groups of) agents interacting; (ii) stories, e.g. particular sequences of related events that are situated in the past and retold for e.g. ideological or religious purposes; and (iii) by implication, master-narratives deeply embedded in a culture, which provide and consolidate cosmological explanations and social structures. Some concrete examples of petroglyphs will be presented and analysed from narratological and iconographical perspectives. We will as a point of departure focus on (i), i.e. single events, though we shall also further consider the possibility of narrative interpretations according to (ii) and (iii).

中文翻译：

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斯堪的纳维亚青铜时代岩画的叙事水平

在欧洲，斯堪的纳维亚拥有最集中的岩石艺术（即岩画），创造了C。5000–一世纪公元前，其中许多表现出具象和看似叙事的表现形式。在本文中，我们将讨论应用于这些图像的可能的叙述学方法。我们可以合理地区分三个层次的图像叙事： (i) 单个事件的表示，被理解为从一种事态到另一种事态的过渡，通常涉及（组）代理交互；(ii) 故事，例如发生在过去并出于意识形态或宗教目的而重新讲述的相关事件的特定序列；(iii) 隐含地，主叙事深深植根于一种文化，提供并巩固了宇宙学解释和社会结构。将从叙述学和图像学的角度介绍和分析一些岩画的具体例子。