scholarly journals Levels of Narrativity in Scandinavian Bronze Age Petroglyphs

2019 ◽  
Vol 29 (3) ◽  
pp. 497-516 ◽  
Author(s):  
Michael Ranta ◽  
Peter Skoglund ◽  
Anna Cabak Rédei ◽  
Tomas Persson
Keyword(s):  
Bronze Age ◽  
Rock Art ◽  
First Century ◽  
Social Structures ◽  
Master Narratives ◽  
The Past ◽  
Narrative Representations ◽  
State Of Affairs ◽  
Point Of Departure

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).

Ancient and Modern Practices of Citizenship in Asia and the West

2018 ◽  
Keyword(s):  
Everyday Life ◽  
The Self ◽  
First Century ◽  
Care Of The Self ◽  
The West ◽  
City Life ◽  
Good Citizen ◽  
The Past ◽  
Twenty First Century ◽  
Point Of Departure

What does it mean to be a good citizen today? What are practices of citizenship? And what can we learn from the past about these practices to better engage in city life in the twenty-first century? Ancient and Modern Practices of Citizenship in Asia and the West: Care of the Self is a collection of papers that examine these questions. The contributors come from a variety of different disciplines, including architecture, urbanism, philosophy, and history, and their essays make comparative examinations of the practices of citizenship from the ancient world to the present day in both the East and the West. The papers’ comparative approaches, between East and West, and ancient and modern, leads to a greater understanding of the challenges facing citizens in the urbanized twenty-first century, and by looking at past examples, suggests ways of addressing them. While the book’s point of departure is philosophical, its key aim is to examine how philosophy can be applied to everyday life for the betterment of citizens in cities not just in Asia and the West but everywhere.

Second-parenthood realities, third-age ideals: (grand)parenthood in the context of poverty and HIV/AIDS

2018 ◽  
pp. 89-110
Author(s):  
Jaco Hoffman
Keyword(s):  
South Africa ◽  
Social Structures ◽  
Intergenerational Support ◽  
Third Age ◽  
The Past ◽  
Legal Guardianship ◽  
Moral Engagement ◽  
Point Of Departure ◽  
Hiv Aids

Within contexts of poverty and HIV/AIDS in (South) Africa, this chapter positions itself at the interface of the historical-moral engagement of grandparents caring for grandchildren and contemporary social realities and aspirations. The phenomenon of the oldest generation caring for younger generations builds on a long-established continuum of social structures and norms related to intergenerational support. However, in the context of HIV/AIDS they are increasingly being forced to take sole responsibility for their grandchildren, including legal guardianship. In this chapter I argue that the point of departure for these grandmothers is an obligatory contribution perspective which often overrides their own needs and aspirations with implications for their own care futures. During the past decade, however, an increasingly more rights-based / corrective discourse developed through which expectations and demands of younger generations are questioned and the obligatory contribution discourse is contested or at least relativized through negotiation..

The Concept of Palestine: The Conception Of Palestine from the Late Bronze Age to the Modern Period

2016 ◽  
Vol 15 (2) ◽  
pp. 143-202 ◽  
Author(s):  
Nur Masalha
Keyword(s):  
Bronze Age ◽  
Old Testament ◽  
Political Geography ◽  
Classical Antiquity ◽  
Late Bronze Age ◽  
Collective Consciousness ◽  
Ancient History ◽  
Master Narratives ◽  
The Bible ◽  
School History

The Concept of Palestine is deeply rooted in the collective consciousness of the indigenous people of Palestine and the multicultural ancient past. The name Palestine is the most commonly used from the Late Bronze Age (from 1300 BCE) onwards. The name Palestine is evident in countless histories, inscriptions, maps and coins from antiquity, medieval and modern Palestine. From the Late Bronze Age onwards the names used for the region, such as Djahi, Retenu and Cana'an, all gave way to the name Palestine. Throughout Classical Antiquity the name Palestine remained the most common and during the Roman, Byzantine and Islamic periods the concept and political geography of Palestine acquired official administrative status. This article sets out to explain the historical origins of the concept of Palestine and the evolving political geography of the country. It will seek to demonstrate how the name ‘Palestine’ (rather than the term ‘Cana'an’) was most commonly and formally used in ancient history. It argues that the legend of the ‘Israelites’ conquest of Cana'an’ and other master narratives of the Bible evolved across many centuries; they are myth-narratives, not evidence-based accurate history. It further argues that academic and school history curricula should be based on historical facts/empirical evidence/archaeological discoveries – not on master narratives or Old Testament sacred-history and religio-ideological constructs.

Surviving The Jungle Book: Trans-temporal Ventriloquism in Ian Iqbal Rashid's Surviving Sabu

2018 ◽  
Vol 15 (4) ◽  
pp. 532-552 ◽  
Author(s):  
Ana Cristina Mendes
Keyword(s):  
Short Stories ◽  
Cultural Studies ◽  
First Century ◽  
Short Film ◽  
Source Text ◽  
Temporal Ventriloquism ◽  
The Past ◽  
Film Maker ◽  
Global Power ◽  
Political Intervention

The process of screen adaptation is an act of ventriloquism insofar as it gives voice to contemporary anxieties and desires through its trans-temporal use of a source text. Screen adaptations that propose to negotiate meanings about the past, particularly a conflicted past, are acts of ‘trans-temporal ventriloquism’: they adapt and reinscribe pre-existing source texts to animate contemporary concerns and anxieties. I focus on the acts of trans-temporal ventriloquism in Ian Iqbal Rashid's Surviving Sabu (1998), a postcolonial, turn-of-the-twenty-first century short film that adapts Zoltan and Alexander Korda's film The Jungle Book (1942), itself an adaptation of Rudyard Kipling's collection of short stories by the same name. Surviving Sabu is about the survival and appropriation of orientalist films as a means of self-expression in a postcolonial present. Inherent in this is the idea of cinema as a potentially redemptive force that can help to balance global power inequalities. Surviving Sabu's return to The Jungle Book becomes a means both of tracing the genealogy of specific orientalist discourses and for ventriloquising contemporary concerns. This article demonstrates how trans-temporal ventriloquism becomes a strategy of political intervention that enables the film-maker to take ownership over existing media and narratives. My argument examines Surviving Sabu as an exemplar of cultural studies of the 1980s and 1990s: a postcolonial remediation built on fantasy and desire, used as a strategy of writing within rather than back to empire.

Music and Memory: The Tlatelolco Refrain

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Josh Kun
Keyword(s):  
State Violence ◽  
First Century ◽  
Student Movements ◽  
Octavio Paz ◽  
Mexican History ◽  
The Past ◽  
Rock Bands ◽  
To Come ◽  
Musical Memory ◽  
A Current

Ever since the 1968 student movements and the events surrounding the Tlatelolco massacre, Mexico City rock bands have openly engaged with the intersection of music and memory. Their songs offer audiences a medium through which to come to terms with the events of the past as a means of praising a broken world, to borrow the poet Adam Zagajewski’s phrase. Contemporary songs such as Saúl Hernández’s “Fuerte” are a twenty-first-century voicing of the ceaseless revolutionary spirit that John Gibler has called “Mexico unconquered,” a current of rebellion and social hunger for justice that runs in the veins of Mexican history. They are the latest additions to what we might think about as “the Mexico unconquered songbook”: musical critiques of impunity and state violence that are rooted in the weaponry of memory, refusing to focus solely on the present and instead making connections with the political past. What Octavio Paz described as a “swash of blood” that swept across “the international subculture of the young” during the events in Tlatelolco Plaza on October 2, 1968, now becomes a refrain of musical memory and political consciousness that extends across eras and generations. That famous phrase of Paz’s is a reminder that these most recent Mexican musical interventions, these most recent formations of a Mexican subculture of the young, maintain a historically tested relationship to blood, death, loss, and violence.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Pictures and people. Seals, figurines and Peloponnesian imagery

2010 ◽  
Vol 3 ◽  
pp. 185-218 ◽  
Author(s):  
Erika Weiberg
Keyword(s):  
Bronze Age ◽  
Early Bronze Age ◽  
North East ◽  
The North ◽  
Initial Description ◽  
Seal Impressions ◽  
Point Of Departure ◽  
Coastal Settlement

The point of departure for this paper is the publication of two Early Helladic sealing fragments from the coastal settlement of Asine on the north-east Peloponnese in Greece. After an initial description and discussion they are set in the context of sealing custom established on the Greek mainland around 2500 BCE. In the first part of the paper focus is on the apparent qualitative differences between the available seals and the contemporary seal impressions, as well as between different sealing assemblages on northeastern Peloponnese. This geographical emphasis is carried into the second part of the paper which is a review and contextualisation of the representational art of the Aegean Early Bronze Age in general, and northeastern Peloponnese in particular. Seal motifs and figurines are the main media for Early Helladic representational art preserved until today, yet in many ways very dissimilar. These opposites are explored in order to begin to build a better understanding of Peloponnesian representational art, the choices of motifs, and their roles in the lives of the Early Helladic people.

Creating Meaning in the Present by Reviewing the Past: Communal Memory in the Psalms of Solomon

2014 ◽  
Vol 5 (3) ◽  
pp. 368-392
Author(s):  
Matthew E. Gordley
Keyword(s):  
Jewish Community ◽  
Historical Review ◽  
First Century ◽  
The Past ◽  
Communal Memory ◽  
Psalms Of Solomon ◽  
Creating Meaning

This article examines Psalms of Solomon with an eye toward how these compositions may have functioned within the setting of a first-century B. C. E. Jewish community in Jerusalem. Several of these psalms should be understood as didactic hymns providing instruction to their audience through the medium of psalmody. Attention to the temporal register of Pss. Sol. 8, 9, and 17 shows how the poet’s use of historical review and historical allusion contributed to a vision of present reality and future hope, which the audience was invited to embrace. Issues relating to the place of these psalms in the tradition of Solomonic discourse are also addressed insofar as they contribute to the didactic function of this psalm collection.

The employment miracle

2018 ◽  
Author(s):  
Marcel Fratzscher
Keyword(s):  
Labor Market ◽  
German Society ◽  
First Century ◽  
Twenty First Century ◽  
Primary Focus ◽  
State Of Affairs ◽  
New Jobs

After reaching a low point of economic dynamism and employment in 2005, a state of affairs in which it came to be regarded as the “sick man of Europe,” Germany achieved impressive, indeed apparently miraculous growth in employment. In the process German society cut unemployment in half and created almost 5 million new jobs. In this chapter’s discussion, the primary focus is on the different elements and causes that have gone into the employment miracle in Germany since the start of the twenty-first century. In addition, the chapter highlights the underlying weaknesses and problems in Germany’s labor market as the century’s second decade nears its close.

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