scholarly journals The attitudes of the contemporary Poles towards the archaeological past

2021 ◽  
Vol 26 ◽  
pp. 309-329
Author(s):  
Michał Pawleta
Keyword(s):  
Historical Context ◽  
Archaeological Heritage ◽  
The Past ◽  
Social Narratives ◽  
People’S Attitudes

This paper aims to present how the past is viewed in contemporary cultural and social narratives, and defines contemporary attitude to the past among Poles. My deliberations are placed in the context of the present-day society/culture and their constituting processes, namely the phenomenon of forgetting the past, democratization of the past, its privatization/individualization, commodification of the past and new ways of experiencing it. The paper will specifically concentrate on the archaeological past - that is the past created by archaeologists, and on archaeological heritage. It address three crucial issues, namely: (1) how changes in the historical context of post-1989 Poland influenced the emergence the renaissance of the past and different narratives about it; (2) what are the most important and widespread forms of presenting and/or experiencing the archaeological past in the present?, and (3) what are the main motivations that lie behind contemporary Poles interest in the past, archaeological heritage and activities undertaken around it? Finally, it is argued that the changes in the people’s attitudes towards the past have led also to a transformation in the hierarchy of aims and methods in education and dissemination of the knowledge about the past within institutions concerned with the past on a professional level.

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.

scholarly journals The heterogeneity of mental representation: Ending the imagery debate

2015 ◽  
Vol 112 (33) ◽  
pp. 10089-10092 ◽  
Author(s):  
Joel Pearson ◽  
Stephen M. Kosslyn
Keyword(s):  
20Th Century ◽  
Mental Representation ◽  
Historical Context ◽  
Internal Representations ◽  
The Past ◽  
Different Types ◽  
Imagery Debate ◽  
Propositional Language

The possible ways that information can be represented mentally have been discussed often over the past thousand years. However, this issue could not be addressed rigorously until late in the 20th century. Initial empirical findings spurred a debate about the heterogeneity of mental representation: Is all information stored in propositional, language-like, symbolic internal representations, or can humans use at least two different types of representations (and possibly many more)? Here, in historical context, we describe recent evidence that humans do not always rely on propositional internal representations but, instead, can also rely on at least one other format: depictive representation. We propose that the debate should now move on to characterizing all of the different forms of human mental representation.

scholarly journals "We Never Knew":  The Differences between Museum History and  Academic History Explored through an  Exhibition of the New Zealand Wars

2021 ◽  
Author(s):  
◽  
Elspeth Hocking
Keyword(s):  
Public History ◽  
Historical Context ◽  
Theoretical Models ◽  
Structured Interviews ◽  
The Past ◽  
Presentation Modes ◽  
Academic History ◽  
History Of ◽  
Museum History ◽  
Conducting Research

<p>Public history and academic history have been viewed both as opposites, two practices related only by their concern with sharing the past, as well as conceptualised as similar fields with close connections to each other. Museum history exhibitions are an obvious example of public history in action. However, is the history that exhibitions present all that different from what is produced in the academy, or is this history academia in another form? Initially this dissertation aimed to explore the relationships between academic and public histories as discipline and practice, assuming a relationship rather than divide between the two fields as suggested in some of the literature. However, the eventual results of the research were different than expected, and suggested that in fact public histories manifest very differently to academic histories within a museum context. Using an adapted ethnographic research methodology, this dissertation traces the development of a single history exhibition, "Te Ahi Kā Roa, Te Ahi Kātoro Taranaki War 1860–2010: Our Legacy – Our Challenge", from its concept development to opening day and onwards to public programmes. This exhibition opened at Puke Ariki in New Plymouth in March 2010, and was a provocative display not only of the history of the wars themselves, but of the legacy of warfare in the Taranaki community. Other methods include partially structured interviews which were conducted with ten people involved in creating this exhibition, who outlined their roles in its production and provided their views on its development, and also a brief analysis of the broader social and historical context in which the exhibition was staged. Through tracing the creation of this history, the findings suggested that the history produced at Puke Ariki is a history in its own right, with noticeable differences from academic histories. The strongest correlation between public and academic history in this instance was the shared aspiration to be rigorous in conducting research and, as far as possible, to create an accurate portrayal of the past. Otherwise the history created by Puke Ariki through the exhibition proved to be different in that it was deliberately designed to be very accessible, and it utilised a number of presentation modes, including objects, text, audiovisual and sound. It was interactive, and had a clear aim of enabling the audience to participate in a discussion about the history being presented. Finally, it was a highly politicised history, in that decision making had to be negotiated with source communities in a collaborative fashion, and issues of censorship worked through with the council, a major funding source. The dissertation concludes that producing history in a museum context is a dynamic and flexible process, and one that can be successful despite not necessarily following theoretical models of exhibition development.</p>

scholarly journals AKOMODASI PESANTREN PADA KESENIAN RAKYAT DI CANGKRINGAN, SLEMAN, YOGYAKARTA

2018 ◽  
Vol 15 (2) ◽  
pp. 284-296
Author(s):  
Kholid Mawardi
Keyword(s):  
Historical Context ◽  
Boarding School ◽  
Folk Art ◽  
Religious Community ◽  
The Other ◽  
The Past ◽  
Diverse Society ◽  
Art Community ◽  
The One ◽  
The Relationship

This study investigated the construction of thoughts by KH. Ahmad Masrur and al-Qodir Islamic Boarding School to accomodate folk art; to reveal the relationship among KH. Ahmad Masrur, al-Qodir Islamic Boarding School, and folk art communities in Wukirsari village; and to find out the approaches of accommodation implemented in the folk art Village. The findings of this study led to some conclusions. First, on the one hand, Mr. Masrur (an Islamic expert) wanted to send the goodness and the beauty of Islam not only to be achieved by Moslems but also by other religious community. On the other hand, the folk art community wanted to maintain their existence in the diverse society. Therefore, those two intentions are linked to each other in order to accomplish those goals. Second, the relationship among Mr. Masrur, al-Qodir Islamic Boarding School, and Wukirsari village folk art community; in terms of historical context, it was the repetition of the relationship pattern in the past time that occured during the Islamisation process in Java. It was carried out by placing the locality as the basis of Islam. Mr. Masrur, al-Qodir Islamic Boarding School put themselves as the exponents of folk art; Mr. Masrur had the role as the patron and the community folk art had the role as the clients, and the overall relationship was accomplished based on mutually beneficial relationship. Third, the forms of accommodation  roposed by Mr. Masrur towards folk art in Wukirsari village were through compromise and tolerance. The form of the compromise was visible through the willingness of both parties to feel and understand the circumstances of one to each other party. As for the form of tolerance, it was implemented by Mr. Masrur and al-Qodir Islamic Boarding School deliberately to avoid various disputes and conflicts.

Zoning the Past: Brokers, Babbitts, and the Memory Work of Commercial Real Estate

2010 ◽  
Vol 44 (2) ◽  
pp. 287-311
Author(s):  
JAMES S. MILLER
Keyword(s):  
Historical Context ◽  
White Collar ◽  
Commercial Real Estate ◽  
American Business ◽  
Literary Realism ◽  
Commercial Development ◽  
The Past ◽  
Modern Development ◽  
Starting Point ◽  
Modern Business

From the moment of its publication in 1922, Sinclair Lewis's novel Babbitt was widely hailed as a text that harnessed the tactics of literary realism to the ambitions of social science. Over the years, in fact, critics have consistently linked Lewis's dissection of a crass, puerile, and materialistic white-collar culture to a conception of the novel as barely fictionalized ethnography – a conceit that has scripted the author as the twentieth century's foremost “cartographer” of American business life. Taking this fact as its starting point, this essay shows how Lewis's efforts to create an ethnographic record of modern business life ultimately encoded an even deeper commentary on the peculiar role that industrial–commercial development played in shaping the ways white-collar Americans thought about, valued, and pursued traces of their putative “heritage.” Rather than simply depict industrial–commercial society's destruction of the past, I argue, Babbitt instead labored to create a necessary genealogy for this regime: one that provided the nation's new, forward-lurching order with the kind of temporal coherence and historical context that its own ascendance seemed most directly to expunge. In making such an argument, this essay seeks to query a long-standing presumption within public memory studies that for years has construed the idea(l)s of historical recovery and the operations of commercial capitalism as fundamentally, if not inherently, incompatible. Balefully derided for mass-producing and mass-marketing a commodified pastness, dismissed as tools for replacing authentic history with ersatz heritage, modern development practices have stood for the vast majority of critics as proof of Americans' fundamental disconnection from their common and authentic history. Seeking to complicate this view, this essay shows instead how Babbitt can be read as a powerful counterexample to such logic – one that casts modernization less as an adversary than as an adjunct to prevailing modes of public recollection.

About the "supertask" ("sverhzadacha") of K. S. Stanislavsky... (about the history of the word supertask (sverhzadacha) in the Russian language)

2021 ◽  
Vol 82 (3) ◽  
pp. 92-98
Author(s):  
I. I. Krivonosov
Keyword(s):  
Historical Context ◽  
Russian Language ◽  
Method Acting ◽  
The Past ◽  
Initial Term ◽  
History Of ◽  
Structural Methods ◽  
The Russian Language ◽  
Terminology System ◽  
National Corpus

The article is devoted to the history of the appearance and functioning of the word supertask (sverhzadacha) in the Russian language. Two lines of the lexeme functioning were distinguished: the first is associated with the etymology of the word, the second – with its use by K. S. Stanislavsky in the terminology system and the further entry of the unit into general use on the basis of determinologization. It is interesting that the second meaning has acquired the most widespread use. Only in the past two decades, the word has begun to lose its connection with the process of artistic creation. The purpose of the study was to briefly review the history of the word: from its first fixation in the Russian language and application by K. S. Stanislavsky (to designate one of the key concepts of Method Acting) up to modern contexts of use. The entry of the lexeme into the language was investigated using structural methods. The methods of contextual and distributive analysis were used to analyse both the contexts in which Stanislavsky used this word and the process of its fixation in the National Corpus of the Russian language. Statistical analysis was used to trace the dynamics of integration of the lexeme into the Russian language and its fixation in various spheres. The methods of component and comparative analysis were used to describe the formation mechanism of the initial term in the historical context. Borrowings of the term supertask (sverhzadacha) were found in other languages, indicating the spread of Stanislavsky’s system. The conclusion is drawn that the word supertask (sverhzadacha) functions in the Russian language mainly as a term from Stanislavsky’s system, gradually becoming determinologized and returning to the meaning conveying the logical sum of its constituent components.

Mutiny, Mayhem, Mythology

2018 ◽  
Author(s):  
Alan Frost
Keyword(s):  
Incomplete Information ◽  
Historical Context ◽  
The Other ◽  
The Past ◽  
Narrative Structures

For the past 225 years, the story of the Bounty's voyage has captured the public's imagination. Two compelling characters emerge at the forefront of the mutiny: Lieutenant William Bligh, and his deputy – and ringleader of the mutiny – Acting Lieutenant Fletcher Christian. One is a villain and the other a hero – who plays each role depends on how you view the story. With multiple narratives and incomplete information, some paint Bligh as tyrannical and abusive, and Christian as his deputy who broke under extreme emotional pressure. Others view Bligh as a victim and a hero, and Christian self-indulgent and underhanded. Alan Frost looks past these common narrative structures to shed new light on what truly happened during the infamous expedition. Reviewing previous accounts and explanations of the voyage and subsequent mutiny, and placing it within a broader historical context, Frost investigates the mayhem, mutiny and mythology of the Bounty.

Selma Baccar: Non-fiction in Tunisia, the Land of Fictions

2017 ◽  
Author(s):  
Stefanie Van de Peer
Keyword(s):  
Everyday Life ◽  
Historical Context ◽  
Women's Issues ◽  
First Lady ◽  
The Past ◽  
Non Fiction ◽  
National Memory ◽  
Political Statement

This chapter discusses a controversial icon of women in Tunisia, Selma Baccar, Tunisia’s first lady of filmmaking, an instigator and a fiercely independent woman still celebrated for her films and politics. Her first film Fatma 75 (1975) carried an intricately political statement of feminist defiance. The film looks at the time of independence and the subsequent struggle for women to gain their rights under the first president, Habib Bourguiba. Tunisia was a land of fictions, and even though Baccar roots her films in the reality of everyday life, most of them are essay films, due to restrictions put on the filmmaker by the Tunisian censor. Baccar, an intellectual artist, identifies strongly with her heroine and places her in a detailed historical context in order to analyse and critique Tunisian attitudes. She looks at past revolutions and women’s issues and in doing so, has served as women’s national memory. Her importance as documenter of the past has become central to 2011’s so-called ‘Jasmine Revolution’, as she now sits on the Assemblée constituante (Constitution Assembly) composed of elected members who are making an attempt at re-writing the Tunisian constitution.

Introduction

2017 ◽  
pp. 1-21
Author(s):  
Enzo Traverso
Keyword(s):  
Twentieth Century ◽  
Historical Context ◽  
Left Wing ◽  
The Past ◽  
The Future ◽  
Financial Capitalism

The introduction analyzes the historical context in which left-wing melancholy arises as a prismatic frame for rethinking the past: “presentism,” a dilated present that absorbs in itself both the past and the future. It corresponds to a neoliberal temporality that replaces twentieth century utopias with a spasmodic acceleration retreated into the boundaries of financial capitalism, deprived of any projection into the future.

Radio B-92 in Belgrade Harnesses the Power of a Media Activist Community During the War to Keep Broadcasting Despite Terrestrial Ban

2011 ◽  
pp. 561-567
Author(s):  
Robin Hamman
Keyword(s):  
Historical Context ◽  
Radio Station ◽  
Former Yugoslavia ◽  
The Internet ◽  
The Past

During the 1999 war between NATO and the former Yugoslavia, an opposition radio station in Belgrade used the Internet to continue to disseminate news and music despite having their terrestrial transmitting equipment confiscated by Serbian authorities. This article will discuss how Radio B-92 was able to do this through the close coordination of radio station staff in Serbia and their partners from within the European media activist community. This article will begin by setting the activities of Radio B-92 and its partners during the Spring of 1999 in a historical context by discussing the use of broadcast and other media during the wars and conflicts of the past.

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