scholarly journals Human-Animal Studies: Remembering the Past, Celebrating the Present, Troubling the Future

2020 ◽  
Vol 28 (7) ◽  
pp. 797-833
Author(s):  
Kenneth Shapiro
Keyword(s):  
Animal Studies ◽  
Final Section ◽  
The Third ◽  
The Past ◽  
Current State ◽  
History Of ◽  
Human Animal ◽  
Definition Of ◽  
Interdisciplinary Study ◽  
State Of The Field

Abstract This is the third in a series of reports on the state of the field of Human-Animal Studies. In the introductory section, major terms in the prevailing definition of the field—Human-Animal Studies is the interdisciplinary study of human-animal relationships—are unpacked and critically analyzed. Subsequent sections deal with the field’s past, present, and possible futures. A schematic history of the field considers both scholarly contributions and programmatic inroads in the academy. The current state of the field section describes its breadth in terms of publication venues, disciplines that interface with it, and the variety of methods employed. It also offers a description of several common strategies that critique the received view of the categorical divide between human and other animal beings. The final section highlights both the potential of and anticipated roadblocks to each of several future trajectories.

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.

Reflections on Thirty Years of Muqarnas

2014 ◽  
Vol 30 (1) ◽  
pp. 1-12 ◽  
Author(s):  
Gülru Necipoğlu
Keyword(s):  
Board Members ◽  
Islamic Art ◽  
Future Directions ◽  
The Past ◽  
Advisory Boards ◽  
Current State ◽  
Thirtieth Anniversary ◽  
History Of ◽  
Art And Architecture ◽  
State Of The Field

In this volume marking the thirtieth anniversary of Muqarnas, the Editor reflects on the evolution of the journal over the years. To that end, the members of the Editorial and Advisory Boards were sent a questionnaire, asking them to comment on the contributions of Muqarnas and its Supplements series to the field of Islamic art and architecture studies over the past three decades, and to provide suggestions for future directions. Their observations, thoughts, and hopes for Muqarnas have been anonymously incorporated into this essay, which, in conversation with their comments, looks back on the history of the publication and offers some possibilities for the path it might take going forward.
The goal here is neither to assess the historiography nor to examine the current state of the field thirty years after the opening essay of volume 1. Instead, the focus is on the development and impact of both Muqarnas and the Supplements series in a highly specialized field with relatively few and short-lived or sporadic journals, before turning to the successes and shortcomings of these publications, as outlined by some of the board members. 


The Latin third stem and its survival in Romance

2018 ◽  
Author(s):  
Martin Maiden
Keyword(s):  
Romance Languages ◽  
Past Participle ◽  
The Third ◽  
The Past ◽  
Word Forms ◽  
History Of ◽  
Definition Of

The implications of Aronoff’s classic example of a morphome—the Latin third stem—for the history of the Romance languages are considered; the third stem is shown to persist in Romance in the form of the past participle (also, in Romanian, in the supine) and to display truly ‘morphomic’ properties in diachrony. Some criticisms of the morphomic status of the third stem in Latin are reviewed. The significance of apparent counterexamples in Portuguese and elsewhere is considered. The diachronic data disclose a probably crucial distinction between derivational and inflexional domains in the definition of morphomic patterns. Such patterns reveal themselves as robust only within inflexional morphology, and it is suggested that perfect lexical identity between alternating word forms is crucial to the existence and persistence of morphomic patterns.

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

2020 ◽  
Vol 17 (4) ◽  
pp. 501-522
Author(s):  
Will Stanford 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 London Weekend Television (LWT) series (1971–5) and its short-lived 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, 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 London Weekend Television (LWT) series (1971–5) and its short-lived 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.

scholarly journals Evolution of Public Service Interpreter Training in the U.S.

2014 ◽  
Vol 1 ◽  
pp. 9-22 ◽  
Author(s):  
Holly M. Mikkelson
Keyword(s):  
Public Service ◽  
El Paso ◽  
Essential Elements ◽  
Employment Opportunities ◽  
The Past ◽  
Current State ◽  
History Of ◽  
Interpreter Training ◽  
Definition Of ◽  
The U.S

Abstract: This article provides an analysis of the current state of public service interpreting (or community interpreting) in theU.S., beginning with a definition of the term and proceeding with a description of how the profession has evolved over the past few decades. Since the training of public service interpreters (PSIs) is inextricably linked to how the profession is viewed (or whether it is viewed as a profession at all), the discussion of the history of PSI will necessarily include the development of educational programs along with the expansion of employment opportunities as standards and expectations have changed over the years. After tracing the evolution of such programs to the present time, the essential elements of training that scholars in the field have identified are enumerated, using them as a benchmark to see how theU.S. measures up. The article concludes with a discussion of issues that complicate the delivery of interpreter training in this country and some recommendations for the future.Resumen: Este artículo proporcionará un análisis del estado actual de la interpretación en los servicios públicos (o interpretación social) en los Estados Unidos, empezando con una definición del término y continuando con una descripción de cómo la profesión ha evolucionado en las últimas décadas. Puesto que la formación de los intérpretes en los servicios públicos (ISP) está inextricablemente relacionada con cómo se ve la profesión (o si se ve como profesión), la discusión de la historia de la ISP necesariamente incluirá el desarrollo de programas educativos junto con la expansión de las oportunidades de empleo, ya que los estándares y las expectativas han cambiado con el paso de los años. Tras mostrar la evolución de tales programas hasta el momento actual, se hará una lista de los elementos esenciales de la formación que los investigadores del campo han identificado, utilizándolos como punto de referencia para ver cómo funcionan los Estados Unidos. El artículo concluirá con una discusión de las cuestiones que complican la oferta de formación de intérpretes en este país y algunas recomendaciones para el future. 

scholarly journals 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 London Weekend Television (LWT) series (1971–5) and its short-lived 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.

(A review). BRAUN-BLANQUETIA. Recueil de travaux de geobotanique / review of geobotanical monographs. Vol. 46. Centenaire de la phytosociologie. CAMERINO, 2010. 423 p.

2011 ◽  
pp. 143-147
Author(s):  
L. G. Naumova ◽  
V. B. Martynenko ◽  
S. M. Yamalov
Keyword(s):  
Plant Association ◽  
Northern Asia ◽  
The Third ◽  
International Botanical ◽  
International Botanical Congress ◽  
History Of ◽  
Definition Of

Date of «birth» of phytosociology (phytocenology) is considered to be 1910, when at the third International Botanical Congress in Brussels adopted the definition of plant association in the wording Including Flaó and K. Schröter (Flahault, Schröter, 1910; Alexandrov, 1969). The centenary of this momentous event in the history of phytocenology devoted to the 46th edition of the Yearbook «Braun-Blanquetia», which began to emerge in 1984 in Camerino (Italy) and it has a task to publish large geobotanical works. During the years of the publication of the Yearbook on its pages were published twice work of the Russian scientists — «The steppes of Mongolia» (Z. V. Karamysheva, V. N. Khramtsov. Vol. 17. 1995), and «Classification of continental hemiboreal forests of Northern Asia» (N. B. Ermakov in collaboration with English colleagues and J. Dring, J. Rodwell. Vol. 28. 2000).

Subaltern Migrations and the State

2017 ◽  
Author(s):  
Philipp Zehmisch
Keyword(s):  
Final Section ◽  
Social Engineering ◽  
The State ◽  
Penal Colony ◽  
The Third ◽  
Dynamic Relationship ◽  
Historical Processes ◽  
Subaltern Agency ◽  
History Of ◽  
Media Reports

This chapter considers the history of Andaman migration from the institutionalization of a penal colony in 1858 to the present. It unpicks the dynamic relationship between the state and the population by investigating genealogies of power and knowledge. Apart from elaborating on subaltern domination, the chapter also reconstructs subaltern agency in historical processes by re-reading scholarly literature, administrative publications, and media reports as well as by interpreting fieldwork data and oral history accounts. The first part of the chapter defines migration and shows how it applies to the Andamans. The second part concentrates on colonial policies of subaltern population transfer to the islands and on the effects of social engineering processes. The third part analyses the institutionalization of the postcolonial regime in the islands and elaborates on the various types of migration since Indian Independence. The final section considers contemporary political negotiations of migration in the islands.

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