Conducting Research in Lebanon: An Overview of Historical Sources Outside of Beirut (Part II)

2004 ◽  
Vol 38 (2) ◽  
pp. 187-195
Author(s):  
Nadya Sbaiti ◽  
Sara Scalenghe

Recent years have witnessed a concerted effort by researchers, archivists and others to preserve, catalog, and inform researchers about the many types of sources located in Lebanon. The publication of Part I of this guide to conducting historical research [see MESA Bulletin 37:1 (Summer 2003): 68-79] addressed archives, libraries, and institutes located in Beirut. This article is dedicated to those found in the rest of the country.As with Part I, the archives and sources surveyed below comprise those that are open to the public and deemed to have the most potential for researchers. Although likely to be of most relevance to historians, these sources are such that they should also prove useful to scholars from other fields. Furthermore, access is constantly improving, thanks in no small part to the efforts underway at multiple institutions to organize and digitize manuscripts, court records, and a host of other documents.

This handbook takes on the task of examining the history of music listening over the past two hundred years. It uses the “art of listening” as a leitmotif encompassing an entanglement of interdependent practices and discourses about a learnable mode of perception. The art of listening first emerged around 1800 and was adopted and adapted across the public realm to suit a wide range of collective listening situations from popular to serious art forms up to the present day. Because this is a relatively new subject in historical research, the volume combines case studies from several disciplines in order to investigate whether, how, and why practices of music listening changed. Focusing on a diverse set of locations and actors and using a range of historical sources, it attempts to historicize and reconstruct the evolution of listening styles to show the wealth of variants in listening. In doing so, it challenges the inherited image of the silent listener as the dominant force in musical cultures.


2003 ◽  
Vol 37 (1) ◽  
pp. 68-81
Author(s):  
Sara Scalenghe ◽  
Nadya Sbaiti

Nearly two decades of war in Lebanon crippled possibilities for historical research during a period when scholarship underwent significant theoretical and methodological developments. The last several years, however, have seen a renewed vigor to preserve, catalog, and promote all types of sources that could possibly shed light on the rich history of the country and of the Middle East in general. Sources and resources in Lebanon are largely decentralized, rendering the country something of a logistical labyrinth that can cost scholars considerable expenditures of time and energy. This article is a modest attempt to facilitate research in Beirut. Although mostly geared towards historians, we hope that this article may prove useful to scholars from other fields as well. It is slightly slanted towards the British and American academies, particularly since the Francophone world has been so much more embedded in the intellectual and scholarly atmosphere of the country.


2019 ◽  
Vol 26 (2) ◽  
pp. 227-252
Author(s):  
Deborah Solomon

This essay draws attention to the surprising lack of scholarship on the staging of garden scenes in Shakespeare's oeuvre. In particular, it explores how garden scenes promote collaborative acts of audience agency and present new renditions of the familiar early modern contrast between the public and the private. Too often the mention of Shakespeare's gardens calls to mind literal rather than literary interpretations: the work of garden enthusiasts like Henry Ellacombe, Eleanour Sinclair Rohde, and Caroline Spurgeon, who present their copious gatherings of plant and flower references as proof that Shakespeare was a garden lover, or the many “Shakespeare Gardens” around the world, bringing to life such lists of plant references. This essay instead seeks to locate Shakespeare's garden imagery within a literary tradition more complex than these literalizations of Shakespeare's “flowers” would suggest. To stage a garden during the sixteenth and seventeenth centuries signified much more than a personal affinity for the green world; it served as a way of engaging time-honored literary comparisons between poetic forms, methods of audience interaction, and types of media. Through its metaphoric evocation of the commonplace tradition, in which flowers double as textual cuttings to be picked, revised, judged, and displayed, the staged garden offered a way to dramatize the tensions produced by creative practices involving collaborative composition and audience agency.


2020 ◽  
Vol 2 (1) ◽  
Author(s):  
Gagah Yaumiyya Riyoprakoso ◽  
AM Hasan Ali ◽  
Fitriyani Zein

This study is based on the legal responsibility of the assessment of public appraisal reports they make in land procurement activities for development in the public interest. Public assessment is obliged to always be accountable for their assessment. The type of research found in this thesis is a type of normative legal research with the right-hand of the statue approach and case approach. Normative legal research is a study that provides systematic explanation of rules governing a certain legal category, analyzing the relationship between regulations explaining areas of difficulty and possibly predicting future development. . After conducting research, researchers found that one of the causes that made the dispute was a lack of communication conducted between the Government and the landlord. In deliberation which should be the place where the parties find the meeting point between the parties on the magnitude of the damages that will be given, in the field is often used only for the delivery of the assessment of the compensation that has been done.


This volume addresses the relationship between archaeologists and the dead, through the many dimensions of their relationships: in the field (through practical and legal issues), in the lab (through their analysis and interpretation), and in their written, visual and exhibitionary practice--disseminated to a variety of academic and public audiences. Written from a variety of perspectives, its authors address the experience, effect, ethical considerations, and cultural politics of working with mortuary archaeology. Whilst some papers reflect institutional or organizational approaches, others are more personal in their view: creating exciting and frank insights into contemporary issues that have hitherto often remained "unspoken" among the discipline. Reframing funerary archaeologists as "death-workers" of a kind, the contributors reflect on their own experience to provide both guidance and inspiration to future practitioners, arguing strongly that we have a central role to play in engaging the public with themes of mortality and commemoration, through the lens of the past. Spurred by the recent debates in the UK, papers from Scandinavia, Austria, Italy, the US, and the mid-Atlantic, frame these issues within a much wider international context that highlights the importance of cultural and historical context in which this work takes place.


Author(s):  
Andrea Gamberini

As it had been in the communal age, so, in the Visconti-Sforza era, law was the instrument that the public authority relied upon in order to subordinate the many actors present and to subjugate their political cultures. There is, therefore, the attempt to tighten a vice around competing powers—a vice that is at the same time legislative, doctrinal, and judicial. And yet, it is difficult to escape the impression of an effort whose outcomes were somewhat more uncertain than had been the case in the past. The chapter focuses on all these aspects of the deployment of legal and other stratagems to consolidate or to wrest power.


Author(s):  
Mitch Kachun

The Conclusion ties together the book’s main arguments about Crispus Attucks’s place in American history and memory. We do not know enough about his experiences, associations, or motives before or during the Boston Massacre to conclude with certainty that Attucks should be considered a hero and patriot. But his presence in that mob on March 5, 1770, embodies the diversity of colonial America and the active participation of workers and people of color in the public life of the Revolutionary era. The strong likelihood that Attucks was a former slave who claimed his own freedom and carved out a life for himself in the colonial Atlantic world adds to his story’s historical significance. The lived realities of Crispus Attucks and the many other men and women like him must be a part of Americans’ understanding of the nation’s founding generations.


Geoheritage ◽  
2021 ◽  
Vol 13 (2) ◽  
Author(s):  
Roger Crofts ◽  
Dan Tormey ◽  
John E. Gordon

AbstractThis paper introduces newly published guidelines on geoheritage conservation in protected and conserved areas within the “IUCN WCPA Best Practice Guidelines” series. It explains the need for the guidelines and outlines the ethical basis of geoheritage values and geoconservation principles as the fundamental framework within which to advance geoheritage conservation. Best practice in establishing and managing protected and conserved areas for geoconservation is described with examples from around the world. Particular emphasis is given to the methodology and practice for dealing with the many threats to geoheritage, highlighting in particular how to improve practice for areas with caves and karst, glacial and periglacial, and volcanic features and processes, and for palaeontology and mineral sites. Guidance to improve education and communication to the public through modern and conventional means is also highlighted as a key stage in delivering effective geoconservation. A request is made to geoconservation experts to continue to share best practice examples of developing methodologies and best practice in management to guide non-experts in their work. Finally, a number of suggestions are made on how geoconservation can be further promoted.


2021 ◽  
pp. 053901842110191
Author(s):  
Loes Knaapen

When science is evaluated by bureaucrats and administrators, it is usually done by quantified performance metrics, for the purpose of economic productivity. Olof Hallonsten criticizes both the means (quantification) and purpose (economization) of such external evaluation. I share the concern that such neoliberal performance metrics are shallow, over-simplified and inaccurate, but differ in how best to oppose this reductionism. Hallonsten proposes to replace quantitative performance metrics with qualitative in-depth evaluation of science, which would keep evaluation internal to scientific communities. I argue that such qualitative internal evaluation will not be enough to challenge current external evaluation since it does little to counteract neoliberal politics, and fails to provide the accountability that science owes the public. To assure that the many worthy purposes of science (i.e. truth, democracy, well-being, justice) are valued and pursued, I argue science needs more and more diverse external evaluation. The diversification of science evaluation can go in many directions: towards both quantified performance metrics and qualitative internal assessments and beyond economic productivity to value science’s broader societal contributions. In addition to administrators and public servants, science evaluators must also include diverse counterpublics of scientists: civil society, journalists, interested lay public and scientists themselves. More diverse external evaluation is perhaps no more accurate than neoliberal quantified metrics, but by valuing the myriad contributions of science and the diversity of its producers and users, it is hopefully less partial and perhaps more just.


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