Networks of Border Zones: A Case Study on the Historical Region of Macedonia in the 14th Century AD

Author(s):  
Mihailo St. Popović
Keyword(s):  
Author(s):  
Laurel Bestock

In the early part of the 2nd millennium bce, the Egyptian state took control of Lower Nubia, building a series of monumental fortresses along the Nile that are remarkable for their sophisticated military architecture. This was Egypt’s first major expansion beyond its traditional borders. Various theoretical models of imperialism and core-periphery interactions have been brought to bear on studies of the forts and their populations, seeking to explain the military, economic, and ideological purposes behind the original construction of the monuments as well as the apparently shifting nature of their occupation, from probable rotating garrisons to more permanent settlement, and their interactions with local populations (cf. Trigger 1976:64–81; Adams 1977:183–88; Zibelius-Chen 1988:69–135; S.T. Smith 1995, 2003; Williams 1999; Flammini 2008; Török 2009:79–101; Vogel 2004; Knoblauch 2008). The resulting picture of Egyptian occupation of Nubia is a nuanced if not entirely agreed upon one. The fortresses are important to archaeology more broadly because they offer a richly documented case study for consideration of state control of foreign territory; they belong in the broader discourse about imperialism, colonization, and colonialism, how different state strategies of control can be understood in the material record, and how people live and interact in border zones. That the methods of Middle Kingdom control can be contrasted to both earlier and later Egyptian strategies of interaction with Nubia, and that the region is one of modern colonial entanglements, makes a critical approach to its occupation in the Middle Kingdom all the more vital.


2017 ◽  
Vol 22 (2) ◽  
pp. 431-455
Author(s):  
Steffen Bogen

AbstractHow and where do relationships arise that can be rendered diagrammatically? Do they emerge through the process of human reasoning or through the act of drawing on surface? Or do they unfold in the dynamic processes at play in observable reality? The following article argues that the latter is the case, making recourse to the philosophy of Charles Sanders Peirce. As a case study, it explores Galileo Galilei’s investigation of free-fall motion and examines both printed texts and manuscripts in order to understand how Galilei arrived at his conclusions. While the published diagrams present his results in graphic traditions that date back to the 14th century, Galilei’s handwritten sketches and notes demonstrate the difficult process of hypothesis formation. In these documents we can observe Galilei grappling with adapting the forms of older diagrammatical notation to his experiments. Through close observation of the phenomena in front of him, Galileo tries to comprehend clearly which parameters of motion can be measured and correlated on the inclined plane.


2020 ◽  
Vol 61 (1) ◽  
pp. 135-182
Author(s):  
Monika Unzeitig

Johannes Gutenberg designed his edition of the Vulgate without illustrations. However, the subsequent evolution of media affected the vernacular appropriation of the Holy Scripture. Vernacular printed Bibles typically featured extensive pictorial representations of the biblical narrative. From an iconographic perspective, this case study examines which types or parts of the images were maintained, transferred but also reconfigured in the woodcuts. In addition, from the perspective of reader-response criticism, it analyzes how the placement of illustrations guides, structures and augments the reading of the Holy Scripture. While the canonical biblical text follows a 14th-century German translation, these illustrations offer new ways of understanding. By looking at the conceptions of Creation, Paradise and Fall of Man in pre-Reformation printed Bibles, this case study examines how religious knowledge changed through these processes of appropriation in the context of a print production which was no longer dominated by clerical but commercial interests. Finally, the findings are compared with Luther’s Bible.


2020 ◽  
Vol 5 (4) ◽  
pp. 106-120
Author(s):  
Ebba Högström ◽  
Chris Philo

What and where is ‘the asylum’ today? To what extent do mental healthcare facilities stand out as clearly bounded entities in the modern urban landscape, perhaps reflecting their history as deliberately set-apart and then often stigmatised places? To what extent have they maybe become less obtrusive, more sunk into and interacting with their urban surroundings? What issues of urban ethics are at stake: concerning who/what is starkly demarcated in the city, perhaps subjected to exclusionary logics and pressures, or more sensitively integrated into the city, planned for inclusion and co-dwelling? These questions underscore our article, rooted in an in-depth case study of Gartnavel Royal Hospital, Glasgow, opened as a ‘lunatic asylum’ on its present, originally greenfield, site in the 1840s and remaining open today surrounded by dense urban expansion. Building from the ‘voices’ of patients, staff and others familiar with the site, we discuss the sense of this asylum as ‘other’ to, as ‘outside’ of, or merely ’beside’ the urban fabric. Drawing from concepts of ‘orientations’ (Ahmed, 2006), sites as spatial constructions (Burns & Kahn, 2005), the power of borders and boundaries (Haselsberger, 2014; Sennett, 2018), issues of site, stigma and related urban ethical matters will be foregrounded. Where are the boundaries that divide the hospital campus from the urban context? What are the material signifiers, the cultural associations or the emotional attachments that continue to set the boundaries? Or, in practice, do boundaries melt into messier, overlapping, intersecting border zones, textured by diverse, sometimes contradictory, bordering practices? And, if so, what are the implications?


2021 ◽  
pp. 103112
Author(s):  
Aslı Er Akan ◽  
Gülşah Çelik Başok ◽  
Arzu Er ◽  
Hilal Tuğba Örmecioğlu ◽  
Sevilay Zamur Koçak ◽  
...  

Author(s):  
Lorenzo Gigante

Germany, France, Italy: the attribution of the first woodcut images has long been debated between several countries, to gain the technological primacy of the invention of reproductive printmaking, before Gutenberg’s movable type printing. Today we know how difficult it is, if not impossible, to establish a place and a date of origin of image printing in Europe. Impossible and probably unimportant. Printing was a European phenomenon in the 15th century, and we may ask ourselves whether a northern woodcut beyond the Italian borders was intended as something different than an Italian one. The contrast between northern and southern prints, which has been claimed by art historians from Vasari until the half of the 20th century, seems to be denied by early modern Italian sources. For example, a German woodcut from the first decades of the 15th century and a Florentine painting from the end of the 14th century can coexist as models for the illumination of the same manuscript. This unpublished case study of two Florentine 15th-century illuminations shows how a European cultural horizon was more common than we think today, and how much woodcut has been a fundamental tool for this broadening of horizons, since its very beginning.


2019 ◽  
Vol 11 (2) ◽  
pp. 316 ◽  
Author(s):  
Ignacio Ferrer-Pérez-Blanco ◽  
Antonio Gámiz-Gordo ◽  
Juan Francisco Reinoso-Gordo

Architectural heritage preservation and sustainability need advanced graphic techniques in order to document and understand the disposition/composition of plaster muqarnas, a fragile construction element. The muqarnas are key elements in the Nasrid architecture developed during the 14th century in the Alhambra complex, nowadays part of World Heritage. As a case study, this analysis focuses on the muqarnas pendentives of the Sala de la Barca in the Comares Palace. After examining both explanations and drawings published by architects Jones and Goury from 1842 to 1845, our research provides new drawings (plans and elevations) derived from laser scanner technology. Theoretically, though muqarnas are composed of simple geometrical shapes, these new drawings unveil important deformations hitherto unknown, and which have not been studied yet by other bibliographic references. Finally, we provide some considerations about the causes of these deformations and the monument sustainability across the time and the images’ capacity to show the muqarnas complex shapes in a reliable way.


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