scholarly journals Historical context and the criminological imagination: Towards a three-dimensional criminology

2018 ◽  
Vol 19 (4) ◽  
pp. 456-474 ◽  
Author(s):  
Henry Yeomans
Keyword(s):  
Historical Context ◽  
Three Dimensional ◽  
Historical Research ◽  
Social Structures ◽  
Original Matrix ◽  
Practical Utility ◽  
The Past ◽  
Criminological Research ◽  
Historical Contextualization ◽  
The Creation

It is widely claimed that criminologists should exercise a ‘criminological imagination’ by connecting individual experiences of crime to social structures and historical context. Despite such claims, criminology is often guilty of a ‘presentism’ that sees the past neglected, ignored or misunderstood. So why and how should criminological research be contextualized historically? This article identifies and examines the functions and forms of historical research within criminology. The article’s significance rests partly in the formulation of an original matrix of forms and functions and its practical utility as a framework for supporting historical contextualization. Additionally, it is ultimately intended that this framework will help construct a more historically sensitive criminology, as attuned to historical context as it is to individual lives and social structures. The creation of this three-dimensional criminology would entail a fuller realization of the criminological imagination, thus significantly enhancing the analytical and socially transformative properties of criminological research broadly.

Imagines fictae: Digital image archives in historical research

1998 ◽  
Vol 10 (1-3) ◽  
pp. 109-111 ◽  
Author(s):  
Gerhard Jaritz
Keyword(s):  
Image Analysis ◽  
Digital Image ◽  
Digital Image Analysis ◽  
Secondary Analysis ◽  
Historical Research ◽  
The Past ◽  
Historical Images ◽  
Historical Archives ◽  
The Creation ◽  
Image Archives

Historical images contain a variety of signs and meanings. The latter have influenced perception and response decisively, in the past as well as today. Methods and possibilities of computer-supported image analysis in context, and particularly of digital image analysis have started to support recent research-efforts considerably. The creation and organisation of digitised historical archives seem to have become particularly important for any kind of studies of the contents and messages of pictorial sources. This creation and organisation of image archives, and the analysis of the contents of such archives mainly imply digitisation and documentation, making catalogues and codebooks available, the linking and binding of images and their details, encoding, segmentation, sub-segmentation and archiving the image segments, creating and keeping up contexts. They make comparative primary and secondary analysis possible. Fruitful co-operation and exchange of skills are necessary. The ‘culture of images’has come up to other levels; history and its images are about to reach new and very promising dimensions.

scholarly journals THE DISCURSIVE WALKS OF MIGRANT WORKERS AS A TRAUMA:FROM A COLLECTIVE EXPERIENCE TO A FEELING OF NOSTALGIA

2020 ◽  
Vol 18 (1) ◽  
pp. 182-198
Author(s):  
Željko Milanović ◽  
Keyword(s):  
Migrant Workers ◽  
Literary History ◽  
Historical Context ◽  
The Other ◽  
Collective Trauma ◽  
The Past ◽  
The Status ◽  
Collective Experience ◽  
The Creation ◽  
Dominant Discourses

The paper starts by tracing the shifts in the status of Anđelko Krstić in the framework of Serbian and Macedonian literature. We interpret the possibility of Krstić being unconditionally accepted as an author with more than one homeland as a non-ideological principle of literary history that could be involved in a de-traumatization of the past and the creation of a conflict-free future. The similarities in the depiction of migrant workers in the novels Trajanby Anđelko Krstić and Infidelityby Dejan Trajkoski are marginal when compared to the involvement of contemporary novelistic protagonists in the modernization processes which open the affected individuals to the experiences of the Other. However, we conclude with the observation that the discrete historical context of Infidelityreproduces memory narratives that perceive their subject solely as a victim of collective trauma in the past. Although Infidelitycontains elements of an invigorating relativization of memory, it is influenced by dominant discourses that abandoned multi-perspectives of the Balkan past and the inclusion of the Other. Such multifaceted perspectives which include the Other represent a prerequisite for a conflict-free future of the Balkan peoples and cultures.

scholarly journals The Grand Duchy of Lithuania and the Polish‑Lithuanian Commonwealth as an Ideological Foundation of the Unity of Intermarium?

Politeja ◽  
2019 ◽  
Vol 15 (6(57)) ◽  
pp. 91-105
Author(s):  
Alvydas Nikžentaitis
Keyword(s):  
20Th Century ◽  
Historical Research ◽  
Central Position ◽  
The Past ◽  
Cross Border ◽  
Memory Culture ◽  
The Creation ◽  
Grand Duchy Of Lithuania ◽  
Grand Duchy

The article surveys the question how the past of the Grand Duchy of Lithuania and the Commonwealth of Both Nations is used in region’s cross‑border issues, and the question could it be the ideological basis for the idea of the Intermarium is raised. The analysis of the countries of the region revealed that these themes in Lithuania, Poland and Belarus are basicaly used for the creation of the identity of the societies, however in any country these topics of the past are not dominating, moreover in Ukraine the theme of the Grand Duchy of Lithuania and the Commonwealth of Both Nations is in marginal position. The central position in the memory culture of these societies take the events of the 20th century. Obviously such secondory position of the understanding of the events of the past showed the commemoration of the anniversary of the Union of Lublin in Poland in 2009. The analysis of the historical research demonstrates different view. Evaluations of the historians in four countries do not differ so cardinally as it was before 1990. Such situation is as a signal that probably it is a time to think about the preparation of the general textbook for schoolchildren of four countries, or synthesis of the history.

scholarly journals Leopolis collection, Museum of Independence – wellspring of knowledge, state of research and recommendations

2021 ◽  
Vol 9 (3) ◽  
pp. 113-131
Author(s):  
Jolanta Załęczny
Keyword(s):  
Systematic Study ◽  
Historical Research ◽  
Valuable Source ◽  
Study Research ◽  
The Past ◽  
Knowledge State ◽  
Polish People ◽  
The Creation ◽  
State Of Research

The Leopolis Collection (at the Museum of Independence) constitutes a valuable source of knowledge on the past of Lviv and its surroundings as well as the fate of the Polish people living there. Created in 1992 as a result of the efforts of Borderland circles, its contribution is used for research by museum specialists, professional historians and researchers of the Borderlands past. The artefacts, archival materials and publications collected there are made use of for preparing exhibitions, scholarly articles and monographs. These valuable collections in relation to exhibitions are still awaiting a systematic study. Research undertaken so far has borne fruit in the form of valuable monographs and studies, but there are many valuable materials still waiting to be unearthed. For the purposes of accessing the museum materials the creation of a Leopolis Collection catalogue is necessary so that its contents can be more broadly made use of – both in historical research and that pertaining to museum-based studies.

Crossing boundaries

2002 ◽  
Vol 9 (2) ◽  
pp. 90-97
Author(s):  
Nicola Laneri
Keyword(s):  
General Public ◽  
Modern Society ◽  
Social Structures ◽  
The Political ◽  
Political Role ◽  
The Past ◽  
The Creation ◽  
The Relationship

AbstractArchaeology is not just about writing reports and interpreting ancient societies and their social structures, but it is also a process which should aim at the creation of a clear communicative message to the general public. Thus, archaeologists should be aware of every possible medium of communication – verbal, written, visual, sound – to express re-constructions of ancient pasts. In this essay I express some ideas about how archaeologists could collaborate with experts, for example theatre directors, in defining artistic way of communicating the past. Finally, I focus on the relationship between academia and fringe archaeology and I look into the political role of archaeologists in modern society.

Mitochondrial Reconstructions Based on Serial Thick Sections and HVEM

1975 ◽  
Vol 33 ◽  
pp. 286-287
Author(s):  
Jerome J. Paulin
Keyword(s):  
Imaging Techniques ◽  
Three Dimensional ◽  
Posterior Pole ◽  
Dimensional Structure ◽  
Stereo Imaging ◽  
Thin Sections ◽  
Anatomical Features ◽  
The Past ◽  
Cellular Components ◽  
Mitochondrial Reticulum

Within the past decade it has become apparent that HVEM offers the biologist a means to explore the three-dimensional structure of cells and/or organelles. Stereo-imaging of thick sections (e.g. 0.25-10 μm) not only reveals anatomical features of cellular components, but also reduces errors of interpretation associated with overlap of structures seen in thick sections. Concomitant with stereo-imaging techniques conventional serial Sectioning methods developed with thin sections have been adopted to serial thick sections (≥ 0.25 μm). Three-dimensional reconstructions of the chondriome of several species of trypanosomatid flagellates have been made from tracings of mitochondrial profiles on cellulose acetate sheets. The sheets are flooded with acetone, gluing them together, and the model sawed from the composite and redrawn.The extensive mitochondrial reticulum can be seen in consecutive thick sections of (0.25 μm thick) Crithidia fasciculata (Figs. 1-2). Profiles of the mitochondrion are distinguishable from the anterior apex of the cell (small arrow, Fig. 1) to the posterior pole (small arrow, Fig. 2).

Moving Figures

2018 ◽  
Author(s):  
Corey Kai Nelson Schultz
Keyword(s):  
Social Change ◽  
Historical Context ◽  
Emotional Responses ◽  
Economic Reforms ◽  
The Past ◽  
Sixth Generation ◽  
Economic Transformations ◽  
Structures Of Feeling ◽  
Raymond Williams

This book examines how the films of the Chinese Sixth Generation filmmaker Jia Zhangke evoke the affective “felt” experience of China’s contemporary social and economic transformations, by examining the class figures of worker, peasant, soldier, intellectual, and entrepreneur that are found in the films. Each chapter analyzes a figure’s socio-historical context, its filmic representation, and its recurring cinematic tropes in order to understand how they create what Raymond Williams calls “structures of feeling” – feelings that concretize around particular times, places, generations, and classes that are captured and evoked in art – and charts how this felt experience has changed over the past forty years of China’s economic reforms. The book argues that that Jia’s cinema should be understood not just as narratives that represent Chinese social change, but also as an effort to engage the audience’s emotional responses during this period of China’s massive and fast-paced transformation.

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.

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