Factors for the Development of Social Infrastructure of Small Towns Today

AbstractCities have existed throughout the history as a combination and conflict of various cultures. The values of citizens are shaped by cultural accumulation that is created from the past to our times. Cultural elements cover a wide scope of fields from science in life to art. The history of the city helps the recognition of the city’s architecture, music, tradition, habits and culture and creates the identity of the city. All of these elements that form a city constitute the cultural heritage of the city. The best witnesses of cultural heritage are city museums which present cities as they are. City museums are one of archive sources that contain all the information that may be gathered about a city. Museums are significant structures that transfer the past to the future, witness all the times experienced by cities and symbolize cities. This study was form around who the structure and culture of a city is reflected by museums, which are the strongest protectors of the cultural heritage of a city. This is why this study discusses the province of Trabzon which has hosted several civilizations from the past to the present and protected its cultural heritage, as well as its city museums. Information and documents were collected in relation to the city museums in the province of Trabzon, and city museums were discussed with the method of field surveys. The city of Trabzon has been covered in the scope of the study with the city’s museums where it preserves its cultural heritage. The museum contributes to the development and strengthening of the social consciousness as well as the transfer of the city’s values, and the values we make us with great care. The purpose of the study is to reveal the extent to which city museums protect the cultural heritage of the city and transfer it to future generations.ÖzTarih boyunca kentler pek çok kültürün birleşimi ve çatışmasıyla ile var olmuştur. Kentlilerin sahip oldukları değerler geçmişten günümüze gelen kültürel birikimlerle şekillenir. Kültürel öğeler, yaşam içinde bilimden sanata pek çok alanı kapsamaktadır. Kentin tarihi, mimarisi, müziği, gelenek ve göreneği kenti ve kentin kültürünün tanınmasına yardımcı olur ve kentin kimliğini oluşturur. Kenti meydana getiren tüm bu öğeler, kentin kültürel mirasını temsil eder. Kültürel mirasın izlerinin en iyi tanıkları, onları olduğu gibi sunan kent müzeleridir. Kent müzeleri kente dair elde edilebilecek tüm bilgileri içinde barındıran kentin en önemli arşiv kaynaklarından biridir. Müzeler, kent için geçmişi geleceğe aktaran, kentin tüm zamanlarına tanıklık eden ve kenti simgeleyen önemli yapılardır. Bir kentin kültürel mirasının en güçlü koruyucuları olan müzelerin, kentin yapısını ve kültürünü nasıl yansıttığı bu çalışmanın ana kurgusunu oluşturmaktadır. Bu nedenle geçmişten günümüze birçok medeniyete ev sahipliği yapmış olan Trabzon kenti, kültürel mirasını koruduğu kent müzeleri ile çalışma kapsamında ele alınmıştır. Kent müzeleri şehrin değerlerinin gelecek kuşaklara aktarılmasının yanı sıra, toplum bilincinin gelişip güçlenmesine de katkıda bulunmaktadır. Trabzon kentindeki tüm müzeler bizi bir çatı altında toplayan; tarihimizi, kültürümüzü, gelenek ve göreneğimizi, kısacası bizi biz yapan değerleri büyük bir titizlikle korumaktadır. Çalışmada, literatür araştırması ile kentin müzeleri ile ilgili bilgiler ve belgeler toplanmış ve yerinde gözlem yoluyla da kent müzeleri irdelenmiştir.

Download Full-text

Early Cinema in Scotland

10.3366/edinburgh/9781474420341.001.0001 ◽

2018 ◽

Cited By ~ 4

Keyword(s):

Social History ◽

Small Towns ◽

Early Cinema ◽

Popular Song ◽

Feature Film ◽

Local Newspapers ◽

The Social ◽

Production History ◽

History Of ◽

International Audience

This collection of essays, drawn from a three-year AHRC research project, provides a detailed context for the history of early cinema in Scotland from its inception in 1896 till the arrival of sound in the early 1930s. It details the movement from travelling fairground shows to the establishment of permanent cinemas, and from variety and live entertainment to the dominance of the feature film. It addresses the promotion of cinema as a socially ‘useful’ entertainment, and, distinctively, it considers the early development of cinema in small towns as well as in larger cities. Using local newspapers and other archive sources, it details the evolution and the diversity of the social experience of cinema, both for picture goers and for cinema staff. In production, it examines the early attempts to establish a feature film production sector, with a detailed production history of Rob Roy (United Films, 1911), and it records the importance, both for exhibition and for social history, of ‘local topicals’. It considers the popularity of Scotland as an imaginary location for European and American films, drawing their popularity from the international audience for writers such as Walter Scott and J.M. Barrie and the ubiquity of Scottish popular song. The book concludes with a consideration of the arrival of sound in Scittish cinemas. As an afterpiece, it offers an annotated filmography of Scottish-themed feature films from 1896 to 1927, drawing evidence from synopses and reviews in contemporary trade journals.

Download Full-text

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

10.26686/wgtn.12917321.v1 ◽

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.

Download Full-text

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

10.26686/wgtn.12917321 ◽

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.

Download Full-text

The Problem

10.1093/oso/9780198787099.003.0001 ◽

2017 ◽

Author(s):

Mats Alvesson ◽

Yiannis Gabriel ◽

Roland Paulsen

Keyword(s):

Social Sciences ◽

Academic Research ◽

Social Scientists ◽

Research Papers ◽

Prestigious Journal ◽

The Past ◽

The Social ◽

Academic Researchers ◽

History Of ◽

Wide Gap

This chapter introduces ‘the problem’ of meaningless research in the social sciences. Over the past twenty years there has been an enormous growth in research publications, but never before in the history of humanity have so many social scientists written so much to so little effect. Academic research in the social sciences is often inward looking, addressed to small tribes of fellow researchers, and its purpose in what is increasingly a game is that of getting published in a prestigious journal. A wide gap has emerged between the esoteric concerns of social science researchers and the pressing issues facing today’s societies. The chapter critiques the inaccessibility of the language used by academic researchers, and the formulaic qualities of most research papers, fostered by the demands of the publishing game. It calls for a radical move from research for the sake of publishing to research that has something meaningful to say.

Download Full-text

History of forestry and forest management

Philosophical Transactions of the Royal Society of London Series B Biological Sciences ◽

10.1098/rstb.1975.0035 ◽

1975 ◽

Vol 271 (911) ◽

pp. 69-80 ◽

Cited By ~ 7

Keyword(s):

Forest Management ◽

Industrial Revolution ◽

Environmental Benefits ◽

National Forest ◽

Private Landowners ◽

Timber Production ◽

Land Area ◽

The Past ◽

The Social ◽

History Of

Britain possesses a forest area which is one of the smallest in Europe in relation to its population and land area. In the past, forests have been felled to make way for farming and to supply timber for ships, houses, fuel and metal smelting. Timber was a key to sea power, and repeatedly the availability of home timber supplies has proved crucial in time of war. The nation’s dwindling reserves of timber have been a source of anxiety since Tudor times and periodic surges of planting for timber production by private landowners took place until about 1850. Thereafter, interest faded with the advent of the iron ship, the Industrial Revolution and the availability of cheap timber imports. Govern ment activity was minimal until a national forest authority was formed in 1919 to create a strategic timber reserve. Since 1958 there have been frequent policy reviews to assess the changing needs of the nation for timber and the new values associated with the social and environmental benefits of forests.

Download Full-text

The Diaspora of the Novel

Diaspora A Journal of Transnational Studies ◽

10.3138/diaspora.2.1.131 ◽

1992 ◽

Vol 2 (1) ◽

pp. 131-146

Author(s):

Artemis Leontis

Keyword(s):

Uneven Development ◽

Literary Genre ◽

The Novel ◽

History Of The Novel ◽

The West ◽

The Past ◽

The Social ◽

Economic Transformations ◽

History Of ◽

New Type

Reflection on the history of the novel usually begins with consideration of the social, political, and economic transformations within society that favored the “rise” of a new type of narrative. This remains true even with the numerous and important studies appearing during the past ten years, which relate the novel to an everbroadening spectrum of ideological issues—gender, class, race, and, most recently, nationalism. Yet a history of the genre might reflect not just on the novel’s national, but also its transnational, trajectory, its spread across the globe, away from its original points of emergence. Such a history would take into account the expansion of western markets—the growing exportation of goods and ideas, as well as of social, political, and cultural forms from the West—that promoted the novel’s importation by nonwestern societies. Furthermore, it could lead one to examine the very interesting inverse relationship between two kinds of migration, both of which are tied to the First World’s uneven “development” of the Third. In a world system that draws out natural resources in exchange for technologically mediated goods, the emigration of laborers and intellectuals from peripheral societies to the centers of power of the West and the immigration of a western literary genre into these same societies must be viewed as related phenomena.

Download Full-text

On Memory of Plates and Dishes

Fluminensia ◽

10.31820/f.32.2.8 ◽

2020 ◽

Vol 32 (2) ◽

pp. 117-136

Author(s):

Krystyna Pieniążek-Marković

Keyword(s):

Cultural Memory ◽

Regional Identity ◽

Literary Fiction ◽

Western World ◽

Individual Identity ◽

The Past ◽

Literary Sources ◽

The Social ◽

History Of ◽

The Common

The aim of the article is to discuss how elements of food narratives meals and kitchen tools used for cooking are used in order to consolidate and shape the Croatian cultural memory, especially in the context of its Mediterranean heritage.For this reason, the texts by Veljko Barbieri, collected in the four volumes under the common and significant title Kuharski kanconijer. Gurmanska sjećanja Mediterana, are analysed. His circum-culinary narratives are a combination of encyclopaedic knowledge, references to historical and literary sources, personal memories and literary fiction. They can be easily inscribed in the Croatian (collective and individual) identity discourse since they are able to strengthen the collective (either national and supranational, or geo-regional) identity, and to construct the cultural memory. They also show Croatia's affiliation to the Western world along with its cultural-civilization rooting in antiquity, the Mediterranean region and Christianity, thus forming a part of the founding memory that develops a narrative about the very beginnings of Croatian presence on this land. The gastronomic narratives serve to create the cultural memory and this version of history which is to stabilize the social identity described by Pierre Nora and Andreas Huyssen. Through his stories, Barbieri shapes memory based on the representation of the past. In the analysed narratives, the memory carriers are dishes and plates which find reference to the oldest history of Croatia rendered by myths and other narratives. Associated with dishes, the pots enable the narrator to recall the past and the identity coded in individual dishes. They also participate in the processes of repeating, storage and remembering which generate a symbiotic relationship between man and thing. The memory carriers that is, food and plates depicted in Barbieri's culinary narratives do not convey their content in a neutral way, but construct their marked images.

Download Full-text

Passeism in the Musical Culture of France

Observatory of Culture ◽

10.25281/2072-3156-2019-16-2-171-182 ◽

2019 ◽

Vol 16 (2) ◽

pp. 171-182

Author(s):

Galina A. Eremenko

Keyword(s):

20Th Century ◽

Cultural Influences ◽

Young Generation ◽

Musical Culture ◽

Self Identity ◽

The Past ◽

Cultural Life ◽

Opposite Trend ◽

History Of ◽

French Composers

The specialists note and highly appreciate the openness to creative dialogue with different European and regional cultures in their works about the artistic history of France. In the introductory section, the article is focused on the importance of the opposite trend, developed in the 19th — early 20th century in all spheres of art. The purpose of the new movement is “national revival”, interest in the origins of the great heritage of the French masters of past epochs. The author concentrates on the peculiarities of interaction between leading composers, musicians-performers and teachers with the traditions of music professionalism of the French composer school. Furthermore, she explains the main reason of “back to the past” addiction by desire to preserve the unique distinction of artistic thinking in the terms of intensive cultural influences in Italy, Germany and Russia. The article provides the facts of creative activity of the leaders of “national renewal”. There are presented some journalistic statements of the leading French composers to confirm their unanimous recognition of the actual value of national classics to the future of French culture. There is explicated the panorama of creative experiments (C. Franck, C. Saint-Saëns, E. Satie, impressionists and composers of the “young generation”) on reconstruction of national traditions of distant epochs. The coverage of events and display of artistic phenomena of musical and cultural life of France allowed the author to form a context to consider the problem of aesthetic and stylistic character: new understanding of the phenomenon of “artistic tradition” and “dialogue with tradition” in the epoch of modernism. The comparison of different forms of “dialogue with the past” in the Russian culture of the beginning of the 20th century and in creative works of the leader of European retrospectivisme I.F. Stravinsky gave grounds to use the concept of “passeism” to characterize the special French type of inheritance of the “lessons” of the predecessors. Introducing the concept of “passeism” in contrast to the accepted in Russian musicology “musical neoclassicism” and giving reasons of the effectiveness of its application, the author seeks to identify the idea of preserving soil foundations of tradition as a way of national self-identity (prosody, rhetoric, form) pertaining to the French composer school.

Download Full-text

The Code of History

Beyond Reason ◽

10.1093/oso/9780197500583.003.0004 ◽

2021 ◽

pp. 87-112

Author(s):

Sanjay Seth

Keyword(s):

Art Music ◽

Modern History ◽

Simple Application ◽

History Writing ◽

The Past ◽

The Social ◽

History Of Art ◽

Core Elements ◽

History Of ◽

Meaning And Purpose

Showing that history writing is not the simple application of a method to sources bequeathed to us from the past, but rather a code that constructs “the past” in particular ways, this chapter explicates the elements of the code. Modern history treats past objects and texts as the objectified remains of humans who endowed their world with meaning and purpose, while constrained by the social circumstances characterizing their times; this time of theirs is dead, and it can only be represented, not resurrected; the past is only ever the human past, and it does not include ghosts, gods, spirits, or nature. In outlining these core elements of the code of history, it engages with those forms of history writing—the history of art, music, and science—that do not always share all the elements of the code, but for that very reason illuminate all the more clearly what the discipline presupposes.

Download Full-text