scholarly journals Time travels in archaeology. Between Hollywood films and historical re-enactment?

2017 ◽  
Vol 3 ◽  
pp. 110
Author(s):  
Dawid Kobialka
Keyword(s):  
Case Studies ◽  
Social Practice ◽  
Time Travel ◽  
The Political ◽  
Political Aspect ◽  
The Past ◽  
Hollywood Films ◽  
Political Intervention

One of the recently most popular ways of experiencing the past is time travelling. It is ‘an experience and social practice in the present that evokes a past (or future) reality’ (Holtorf 2009: 33). In this article, I mainly discuss the political aspect of time travelling. I focus on cinema as a medium which closely links archaeology with the time travel phenomenon. Two Oscars galas, of 2010 and 2012, are scrutinised as case studies. The text is a political intervention to start dreaming dangerously, to contribute as an archaeologist to the critique of the utopia of capitalism (see also Hernando 2005: 75).

Being Special, Becoming Indigenous: Dilemmas of Special Adat Rights in Indonesia

2011 ◽  
Vol 39 (5) ◽  
pp. 652-673 ◽  
Author(s):  
Adam Tyson
Keyword(s):  
Public Participation ◽  
Case Studies ◽  
Indigenous Rights ◽  
The Other ◽  
The Political ◽  
Reform Era ◽  
Political Intervention ◽  
Village Communities ◽  
The One ◽  
Special Rights

Abstract From 1998 onwards Indonesia’s reform era (reformasi) has captured the imagination of growing numbers of observers, experts and scholars. Policies of decentralisation and enhanced public participation projects have reawakened old debates surrounding indigenous rights, power and status. This article examines the dilemma of special rights, particularly those related to the political revival of customs and traditions (adat istiadat). Calls for exigent recognition and redistributive rights for particular groups and ‘unique’ village communities frequently take the form of indirect regulatory negotiations and direct struggles for land. Case studies from Sulawesi are therefore used to examine heavily contested processes of decentralisation and local autonomy, which in many respects enable the revival of local adat. Distinctions are made between static and fluid views of adat, between being special by virtue of birthright on the one hand, and becoming indigenous by way of deliberate political intervention and mobilisation on the other.

Islamic Religious Education in Cyprus

2015 ◽  
Vol 4 (1) ◽  
pp. 7-37 ◽  
Author(s):  
Béatrice Hendrich
Keyword(s):  
Case Studies ◽  
Religious Education ◽  
Summer School ◽  
Formal Education ◽  
The Political ◽  
Political Aspect ◽  
North Cyprus ◽  
Political Background ◽  
Cyprus Conflict ◽  
North And South

This article discusses Islamic Religious Education (re) in present day Cyprus on both the southern and northern sides the dividing line established in 1974.reis understood in its broadest sense to includereclasses in formal education, Qur’an teaching in a mosque-like environment or summer school instruction. First an introductory description of the political background of current Cyprus laws is depicted, followed by an illustration of the actors, past events and options for the future. Case studies on recent conflicts in north Cyprus highlight the political aspect of providing or rejectingre. Lastly, the article raises the question as to how the differing approaches torein north and south Cyprus could be integrated once the Cyprus Conflict has been settled.

Lxix: Jakob von Graviseth's Heutelia

PMLA ◽  
1937 ◽  
Vol 52 (4) ◽  
pp. 1062-1071
Author(s):  
Werner Paul Friederich
Keyword(s):  
Social Justice ◽  
The Political ◽  
Political Aspect ◽  
The Core ◽  
The Past ◽  
Political Criticism ◽  
The Reformation ◽  
The Masses ◽  
Albrecht Von Haller ◽  
The Church

Graviseth's anonymously published Heutelia, only superficially mentioned in manuals of Swiss literature (except Ermatinger's), deserves a short analytic study both on account of its interest as a state-satire preceding the Age of Enlightenment and on account of the rarity of its editions, which are not accessible to scholars in America.The book, published in 1658, does not greatly point to the past, although its satirical trends, its realistic and grobianistic elements, and its dislike of monks and women do indeed remind us of the esprit gaulois of Rabelais and the mentality of Fischart and the pamphleteers of the Reformation. More important is the political aspect of this diary of a critical journey through Switzerland; and the whole tenor of Heutelia, the penetrating analyses of men and their institutions, the sharp attacks against the vices of the ancien régime and the bigoted intolerance of the church, make the book an early forerunner of Montesquieu's Lettres persanes. Its style is still baroque and its vocabulary full of foreign words; but in its keen political criticism this book inaugurates an era of greater liberalism. Graviseth, a German aristocrat from the Palatinate who had become citizen of Bern, may well be likened to Albrecht von Haller, because both of them, though aristocrats to the core, tried equally discreetly to work for greater social justice for all. Haller's state-novels attempt it in the realm of pure thought, in carefully worded philosophical and political dialogues; while Graviseth, much more realistic and earthy, mingles jokes and coarseness in his paragraphs, ridiculing the masses for their materialistic viciousness.

scholarly journals The case for graphic counter-memorials in the comics of Joe Sacco, Art Spiegelman, and Brian Wood and Riccardo Burchielli

2021 ◽  
Author(s):  
Brooke Winterstein
Keyword(s):  
Collective Memory ◽  
Historical Narratives ◽  
The Political ◽  
Historical Events ◽  
Art Spiegelman ◽  
The Past ◽  
Non Fiction ◽  
Trauma Memory ◽  
Memory And Trauma ◽  
Political Intervention

My dissertation considers a group of contemporary comics about war by Joe Sacco, Art Spiegelman, and Brian Wood and Riccardo Burchielli, as examples of a larger genre I call the graphic counter-memorial. Graphic counter-memorial comics address history, memory, and trauma as they depict the political, violent, and collective aspects of war and social conflict. I argue that the particular comics I study in this dissertation, which mingle fiction and non-fiction and autobiography as well as journalism, follow the tradition of the counter-monuments described by James E. Young. Studying commemorative practices and counter-monuments in the 1980s, Young notes a generation of German artists who resist traditional forms of memorialization by upending the traditional monument structure in monument form. Young looks at the methods, aims, and aesthetics these artists use to investigate and problematize practices that establish singular historical narratives. Like these works of public art, the graphic counter-memorial asks the reader to question ‘official history,’ authenticity, and the objectivity typically associated with non-fiction and reporting. I argue that what these comics offer is an opportunity to re-examine comics that incorporate real and familiar social and historical events and wars. Comics allow creators to visually and textually overlap perspectives and time. Graphic counter-memorials harness the comic medium’s potential to refuse fixed narratives of history by emphasizing a sense of incompleteness in their representation of trauma, memory, and war. This makes possible a more complex and rich way to engage with Western society’s relationship to the past, and in particular, a more complex way of engaging with collective memory and war. Their modes of mediating history produce political intervention through both form and content.

Interfacing with the past: Archival digitization and the construction of digital depository

2020 ◽  
pp. 135485652097299
Author(s):  
Sharon Ringel
Keyword(s):  
Time Travel ◽  
The Political ◽  
Technical Process ◽  
National Library ◽  
Digital History ◽  
The Past ◽  
Archival Documents ◽  
Digital Collection ◽  
Cultural Tensions ◽  
Selection Of

This article examines the construction of a digital collection. Using a theoretical framework adapted from digital history and historiography, it will investigate the implications of archival digitization. Through an empirical study of the National Library of Israel’s digital depository of ephemera entitled ‘Time Travel’, the article demonstrates how the selection of archival records for digital preservation, the design of the search interface, and the crowdsourcing of metadata collection are all directing archive users toward certain narratives about Israeli history and away from others. Drawing on interviews with professionals, analysis of reports, and investigations of user experience, I will unearth the political, religious, and cultural tensions that lie beneath the surface of ‘Time Travel’. This research demonstrates that digitization of archival documents is not just a technical process but a cultural, social, and political one as well.

THE ECCLESIA THEME IN THE APSIDAL MOSAICS OF ROME AS A REFLECTION OF THE COMMUNICATIVE VISUAL STRATEGIES OF THE PAPAL POWER

2021 ◽  
pp. 126-147
Author(s):  
Irina V. Golubeva ◽  
Keyword(s):  
Visual Communication ◽  
Stylistic Analysis ◽  
The Political ◽  
Political Aspect ◽  
Political Situation ◽  
The Past ◽  
Widespread Adoption ◽  
Liturgical Texts ◽  
The Church ◽  
Selection Of

A number of researches in recent years have been aimed at revealing the factors that influenced the iconographic program in the apses of the basilicas in Rome as well as at a new, deeper understanding of the semantics of the depicted themes. The paper is focused on the mosaic compositions in Roman apses; it is intended to demonstrate three typical aspects (liturgical, stylistic and political) of the visual papal strategies that are reflected in the encrypted “messages” of the pontiffs in different times. Both iconographic models and inscriptions within the composition – liturgical texts, quotations from scripture – are studied in the connection with the liturgics. In the context of the stylistic analysis, the author considers the pictorial tools used by the Roman artists, thus trying to reveal their appeal to the heritage of the past. A manifestation of such a reference was reflected, particularly, in the widespread adoption of paleochristian models and schemes, which succeeded the reform of the Church, proclaimed by Gregory VII, and also were connected with the concept of Ecclesia primitiva. The political aspect of visual communication is represented in the selection of images of the Roman Church that appeared in the apse. The author seeks to understand the causality associated with the chosen iconographical program and the historical and political situation.

scholarly journals The case for graphic counter-memorials in the comics of Joe Sacco, Art Spiegelman, and Brian Wood and Riccardo Burchielli

2021 ◽  
Author(s):  
Brooke Winterstein
Keyword(s):  
Collective Memory ◽  
Historical Narratives ◽  
The Political ◽  
Historical Events ◽  
Art Spiegelman ◽  
The Past ◽  
Non Fiction ◽  
Trauma Memory ◽  
Memory And Trauma ◽  
Political Intervention

My dissertation considers a group of contemporary comics about war by Joe Sacco, Art Spiegelman, and Brian Wood and Riccardo Burchielli, as examples of a larger genre I call the graphic counter-memorial. Graphic counter-memorial comics address history, memory, and trauma as they depict the political, violent, and collective aspects of war and social conflict. I argue that the particular comics I study in this dissertation, which mingle fiction and non-fiction and autobiography as well as journalism, follow the tradition of the counter-monuments described by James E. Young. Studying commemorative practices and counter-monuments in the 1980s, Young notes a generation of German artists who resist traditional forms of memorialization by upending the traditional monument structure in monument form. Young looks at the methods, aims, and aesthetics these artists use to investigate and problematize practices that establish singular historical narratives. Like these works of public art, the graphic counter-memorial asks the reader to question ‘official history,’ authenticity, and the objectivity typically associated with non-fiction and reporting. I argue that what these comics offer is an opportunity to re-examine comics that incorporate real and familiar social and historical events and wars. Comics allow creators to visually and textually overlap perspectives and time. Graphic counter-memorials harness the comic medium’s potential to refuse fixed narratives of history by emphasizing a sense of incompleteness in their representation of trauma, memory, and war. This makes possible a more complex and rich way to engage with Western society’s relationship to the past, and in particular, a more complex way of engaging with collective memory and war. Their modes of mediating history produce political intervention through both form and content.

scholarly journals Opera Production in Ireland: No Place for Politics?

2010 ◽  
pp. 31-54
Author(s):  
Áine Sheil
Keyword(s):  
Case Studies ◽  
Performance Theory ◽  
The Political ◽  
The Past ◽  
Past Half Century ◽  
History Of ◽  
And Performance ◽  
Opera Production ◽  
Opera Productions ◽  
Past Half

Opera has a history of just over four hundred years and a markedly finite canon in comparison with spoken theatre. The repertory has expanded very little in the past half-century, and this means that renewal is largely achieved through direction and design. In continental European theatres, and in Germany in particular, operas constantly acquire new layers of meaning in production, and are often staged as political statements. In Ireland, this type of ‘director’s theatre’ is rare. Irish companies seldom see opera as a vehicle for clear ideological statements, and productions often shy away from the political potential of opera texts. Drawing on theatre, opera and performance theory by Keir Elam, David J. Levin and Jon McKenzie among others, this article takes four recent Irish opera productions as case studies and argues that even apparently apolitical opera is inevitably shaped by politics.

The Political Aspect of Aeschylus's Eumenides

1957 ◽  
Vol 77 (2) ◽  
pp. 230-237 ◽  
Author(s):  
K. J. Dover
Keyword(s):  
Prima Facie ◽  
The Political ◽  
Political Aspect ◽  
The Past ◽  
Political Views ◽  
Image Position

The ransacking of Tragedy for indications of the political views of tragic poets is seldom profitable and may be disastrous. But Eumenides, like much that Aeschylus wrote, is unusual, and one of its unusual aspects is the clarity and persistence with which the hearer's attention is engaged in the political present as well as in the heroic past; one might almost say, directed away from the past and towards the present. The nature of this re-direction, and its implications, if any, for Aeschylus's own standpoint, are no new problem. My reason for discussing it once more is that not enough attention has been paid to the immediate dramatic context of the passages by which this re-direction is effected or to the relation between these passages and the language of Greek politics in general.I. The Central Stasimon 490–565.Editors of Aeschylus have assumed that these words cannot mean what they appear to mean: ‘Now new ordinances are overthrown, if the cause pleaded, and the injury done, by this matricide are going to prevail.’ The old laws, not the new, it is said, are in danger of overthrow, and it can only be the old laws which the Chorus defend and lament. Attempts to escape the prima facie meaning have taken the following forms:(a) Emendation to give the sense ‘overthrow of old ordinances’ (ἕνων κ. θ., Cornford), ‘overthrow of ordained laws’ (κ. νόμων θ., Ahrens), ‘overthrow of my ordinances’ (ἐμῶν κ. θ., Weil), or ‘change to new ordinances’ (μεταστροφαὶ ν. θ., Meineke).

SCULPTING THE PAST IN PRECLASSIC MESOAMERICA: OLMEC STONE MONUMENTS AND THE PRODUCTION OF SOCIAL MEMORY

2014 ◽  
Vol 25 (1) ◽  
pp. 11-27
Author(s):  
Jillian Mollenhauer
Keyword(s):  
Twentieth Century ◽  
Collective Memory ◽  
Case Studies ◽  
Social Memory ◽  
The Political ◽  
Stone Monuments ◽  
Public Monuments ◽  
The Past ◽  
The Social ◽  
Over Time

AbstractScholars encountering the monolithic sculptures of the Gulf lowland Olmec since the early twentieth century have frequently employed the term “monument” to describe these works. Often the word has been applied in reference to the formal qualities of the sculptures as well as to their antiquity. The function of monuments as sites of public remembering, however, has never been fully explored in relation to these works. This article discusses the evidence for, and implications of, viewing certain Olmec sculptures as public monuments intended to generate, transform, and erase the social memory of Olmec populations. Case studies of sculptural contexts suggest that such monuments were subject to diachronic transpositions and transformations in order to affect shifts in the collective memory over time. They remain as physical testaments to the maneuverings of Olmec elites within complex and ever-changing power relations that relied on the process of memory-making as part of the political stratagem.

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