scholarly journals Individualism as a Cultural Syndrome in Recent American Cinema

2017 ◽  
Vol 9 (2) ◽  
pp. 114-122
Author(s):  
Nina A Tsyrkun
Keyword(s):  
Moral Responsibility ◽  
Cultural Constructs ◽  
American Cinema ◽  
The Past ◽  
Individualism And Collectivism ◽  
The Face ◽  
Survival Condition ◽  
The Way

The article explores the balance of the two basic cultural constructs - individualism and collectivism - and the way it is represented in the American cinema of 2015-2016 as exemplified by a number of films set in the past, present and future. The author comes to the conclusion that in the face of a global peril the idea of individual moral responsibility inevitably leads to the role of collectivism as the essential survival condition.

scholarly journals Religion in the Yugoslav conflicts: post-war perspectives

2006 ◽  
Vol 19 ◽  
pp. 256-275
Author(s):  
Christian Moe
Keyword(s):  
Moral Responsibility ◽  
Relevant Literature ◽  
Human Agency ◽  
Holy War ◽  
Religious Wars ◽  
Yugoslav Wars ◽  
Post War ◽  
Critical Notes ◽  
The Way

The wars that dissolved Yugoslavia – were they religious wars? Why are conflicts increasingly coded as religious, rather than as, for example, social or ethnic? What constitutes a ‘religious’ or ‘holy’ war. This article attempts an inventory of important cat­egories and hypotheses generated in the relevant literature so far, with a few critical notes along the way. The author considers the role assigned to religion in structural, cultural, and actor-oriented explanations of the Yugoslav wars. Structural and cultural explanations downplay the role of human agency and, hence, of moral responsibility; actor-oriented approaches focus on it.

Narratives of human trafficking: Defining policy, practice and positioning in a contested field

2021 ◽  
Author(s):  
◽  
Bryony Cornforth-Camden
Keyword(s):  
Human Trafficking ◽  
Migrant Workers ◽  
Sex Trafficking ◽  
Policy Practice ◽  
Local Responses ◽  
The Past ◽  
Crime Type ◽  
Counter Narrative ◽  
The Way

<p><b>This research uses narrative criminology to investigate the way the problem of human trafficking is narrated in New Zealand and international settings. It draws on accounts from professionals who are responsible for defining and responding to human trafficking, and reports, policy, and other guiding documents. The main issue driving this research is the contested nature of human trafficking. Human trafficking is a crime type that has been highly politicised resulting in shifts and changes to the way the problem of trafficking has been approached over the past 20 years, with differing trends coming to the fore and dominating trafficking practices at different times. The internationally dominant approaches which emphasise prostitution, harsh criminal responses, and border security have come under criticism for having harmful impacts for migrant workers. This research aims to understand how human trafficking is defined, what discourses are drawn on, and how international narratives may be influencing local responses with the overall aim of identifying new and less problematic ways of conceptualising human trafficking and responding to migrant exploitation.</b></p> <p>This thesis finds that different ways of narrating human trafficking are constitutive of different trafficking realities. Narratives determine the shape the problem takes, who is involved, what the causes and solutions are, who responds, and who are classed as victims and perpetrators. This research concludes that as narratives structure reality and action, in order to change how we deal with certain problems, the way the problem is narrated must also change.</p> <p>The findings of this thesis reflect current challenges in the wider international anti-trafficking field of how to avoid positioning western states and systems as outside of the problem of trafficking, issues with broadening definitions of victimhood, and questions of the role of international versus local bodies in defining problems involving migration and crime. As well as reflecting these current challenges, the findings from this research provide insights for moving forwards by proposing an alternative narrative. This counter narrative is created through drawing together components of narratives identified in this research. It avoids the issues of western exceptionalism, narrow forms of victimhood, and a focus on sex trafficking, and provides a different method for conceptualising migration, exploitation, and harm.</p>

Everybody's War

2021 ◽  
Keyword(s):  
Health Care ◽  
Lived Experience ◽  
International Humanitarian Law ◽  
Humanitarian Law ◽  
War Economy ◽  
The Past ◽  
Postcolonial State ◽  
The Face ◽  
History Of

This book explores the history of health care in postcolonial state-making and the fragmentation of the health system in Syria during the conflict. It analyzes the role of international humanitarian law (IHL) in enabling attacks on health facilities and distinguishes the differences between humanitarian solutions and refugee populations’ expectations. It also describes the way in which humanitarian actors have fed the war economy. The book highlights the lived experience of siege in all its layers. It examines how humanitarian actors have become part of the information wars that have raged throughout the past ten years and how they have chosen to position themselves in the face of grave violations of IHL.

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

scholarly journals Half-Remembering and Half-Forgetting? On Turning the Past of Old Norse Studies into a Future of Old Norse Studies

Humanities ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 97
Author(s):  
Jan Alexander van Nahl
Keyword(s):  
Old Norse ◽  
Social Relevance ◽  
The Public ◽  
Special Obligation ◽  
The Past ◽  
Societal Challenges ◽  
Science Technology ◽  
The Face

Many Humanities scholars seem to have become increasingly pessimistic due to a lack of success in their efforts to be recognized as a serious player next to their science, technology, engineering, and maths (STEM) colleagues. This appears to be the result of a profound uncertainty in the self-perception of individual disciplines within the Humanities regarding their role both in academia and society. This ambiguity, not least, has its roots in their own history, which often appears as an interwoven texture of conflicting opinions. Taking a stance on the current and future role of the Humanities in general, and individual disciplines in particular thus asks for increased engagement with their own past, i.e., histories of scholarship, which are contingent on societal and political contexts. This article’s focus is on a case study from the field of Old Norse Studies. In the face of the rise of populism and nationalism in our days, Old Norse Studies, with their focus on a ‘Germanic’ past, have a special obligation to address societal challenges. The article argues for the public engagement with the histories of individual disciplines to strengthen scholarly credibility in the face of public opinion and to overcome trenches which hamper attempts at uniting Humanities experts and regaining distinct social relevance.

scholarly journals Reviving Traditional Food Knowledge Through Food Festivals. The Case of the Pink Asparagus Festival in Mezzago, Italy

2020 ◽  
Vol 4 ◽  
Author(s):  
Michele F. Fontefrancesco ◽  
Dauro M. Zocchi
Keyword(s):  
Local Knowledge ◽  
Crop Production ◽  
Modern Society ◽  
Traditional Food ◽  
The Past ◽  
Food Knowledge ◽  
The Face ◽  
The Village ◽  
The Relationship

The article investigates the link between food festivals and traditional food knowledge and explores the role played by tourist events in disseminating local agricultural and gastronomic knowledge. This article presents the ethnographic case of the Pink Asparagus Festival in Mezzago in Italy, analyzing how the festival supported the continuation of crop production and its associated traditional knowledge in the village. In the face of a decline of asparagus production, the article highlights the role of the festival in fostering a revival of local food knowledge, which is also able to embrace modernization, at the same time maintaining a strong sense of the past and Mezzago's legacy. Thus, the article suggests that festivals are not just events aimed at commodifying local knowledge, but can be important tools to refresh and maintain local expertise, which is vital and pressing in the context of modern society, and strengthen and expand the relationship between members of the community, thus converting the festival into an endeavor to foster sociocultural sustainability.

Lesbian Perversity and Victorian Marriage: The 1864 Codrington Divorce Trial

1997 ◽  
Vol 36 (1) ◽  
pp. 70-98 ◽  
Author(s):  
Martha Vicinus
Keyword(s):  
Nineteenth Century ◽  
Case Studies ◽  
Homosexual Behavior ◽  
Public Discussion ◽  
The Past ◽  
Control Information ◽  
Lesbian Sexuality ◽  
The Face ◽  
Female Homosexual Behavior

How and when did society first recognize women's homoerotic bonds? Were these romantic friendships fully accepted, or were they seen as problematic? Did the women involved see themselves as lesbians? These and other questions have been raised over the past twenty years by historians of lesbian sexuality. When Lillian Faderman in her pioneering survey of European and American lesbians declared the nineteenth century as the golden age of unproblematic romantic friendships, historians quickly responded with evidence to the contrary. Much of this debate has been focused on whether or not women could be considered “lesbian” before they claimed (or had forced on them) a publicly acknowledged identity. But the modern lesbian did not appear one day fully formed in the case studies of the fin-de-siècle sexologists; rather she was already a recognizable, if shadowy, subject for gossip among the sophisticated by at least the 1840s and 1850s. By examining closely a single divorce trial, I hope to show that literary and legal elites acknowledged lesbian sexuality in a variety of complex ways. Their uneasy disapproval encompassed both a self-conscious silence in the face of evidence and a desire to control information, lest it corrupt the innocent. Yet who can define the line between the ignorant and the informed? The very public discussion of the Codrington divorce, and most especially the role of the feminist, Emily Faithfull, in alienating Helen Codrington's affections from her husband, demonstrate the recognition of female homosexual behavior.

History Repeating Itself. The function of turning points and continuity in three historical narratives on operetta

2017 ◽  
Vol 29 (1) ◽  
pp. 102
Author(s):  
Mikael Strömberg
Keyword(s):  
Turning Points ◽  
Source Material ◽  
Historical Narrative ◽  
Historical Narratives ◽  
Complex Relationship ◽  
Narrative Strategy ◽  
The Past ◽  
History Of ◽  
The Way

The article’s primary aim is to discuss the function of turning points and continuity within historiography. That a historical narrative, produced at a certain time and place, influence the way the historian shapes and develops the argument is problematized by an emphasis on the complex relationship between turning points and continuity as colligatory concepts within an argumentative framework. Aided by a number of examples from three historical narratives on operetta, the article stresses the importance of creating new narratives about the past. Two specific examples from the history of operetta, the birth of the genre and the role of music, are used to illustrate the need to revise not only the use of source material and the narrative strategy used, but also how the argument proposed by the historian gathers strength. The interpretation of turning points and continuity as colligatory concepts illustrate the need to revise earlier historical narratives when trying to counteract the repetitiveness of history.

Indigenous approaches to the past: ‘Creative histories’ at the Hyde Park Barracks, Sydney

2020 ◽  
Vol 9 (1) ◽  
pp. 83-102 ◽  
Author(s):  
Kiera Lindsey
Keyword(s):  
Visual Art ◽  
The Other ◽  
Cultural Relations ◽  
Form And Function ◽  
The Past ◽  
Cultural Responses ◽  
And Function ◽  
The Way

This article discusses a recent art project created by the Wiradjuri and Kamilaroi artist Jonathon Jones, which was commissioned to commemorate the opening of the revitalized Hyde Park Barracks in Sydney in early 2020. Jones’ work involves a dramatic installation of red and white crushed stones laid throughout the grounds of the barracks, merging the image of the emu footprint with that of the English broad convict arrow to ‘consider Australia’s layered history and contemporary cultural relations’. This work was accompanied by a ‘specially-curated programme’ of performances, workshops, storytelling and Artist Talks. Together, these elements were designed to unpack how certain ‘stories determine the ways we came together as a nation’. As one of the speakers of the Artist Talk’s programme, I had a unique opportunity to experiment with what colleagues and I have been calling ‘Creative histories’ in reference to the way some artists and historians are choosing to communicate their research about the past in ways that experiment with form and function and push disciplinary or generic boundaries. This article reflects upon how these two distinct creative history projects – one visual art, the other performative – renegotiate the complex and contested pasts of the Hyde Park Barracks. I suggest that both examples speak to the role of memory and creativity in shaping cultural responses to Australia’s colonial past, while Jones' programme illustrates how Indigenous artists and academics are making a profound intervention into contemporary understandings of how history is ‘done’ in Australia.

How Berlusconi will be remembered: notoriety, collective memory and the mediatisation of posterity

Modern Italy ◽  
2015 ◽  
Vol 20 (1) ◽  
pp. 91-109 ◽  
Author(s):  
Stephen Gundle
Keyword(s):  
Mass Media ◽  
Collective Memory ◽  
Collective Consciousness ◽  
The Past ◽  
Personality Cult ◽  
The Mass Media ◽  
Silvio Berlusconi ◽  
The Way

This article explores the ways in which Silvio Berlusconi might figure in collective memory. It approaches this from a number of angles. First, consideration is given to the way political figures of the past have resonated culturally and the role of institutions including the mass media in this. Second, Berlusconi's own efforts to situate himself in relation to a shared past are explored, with reference to the place of three nostalgic appeals that figured with varying intensity at different points in his career. Third, Berlusconian aesthetics are investigated to explore the relative roles of kitsch and glamour. It is shown that kitsch gained the upper hand and that this also manifested itself in the monarchical aspects that his personality cult took on. Finally, Berlusconi is considered as a possible subject for a biopic and a discussion is offered of the way his life and career might be presented in different variants of this genre. Overall, it is suggested that expectations that he will be damned by history fail to take account both of the way he imposed himself on the collective consciousness and of the generic requirements of the mass media.

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