scholarly journals Integrating the cosmopolitan and the local – The curricular construction of citizens in Luxembourg in the long 19th century

2015 ◽  
Vol 16 ◽  
pp. 165-182
Author(s):  
Catherina Schreiber

During the 19th century new forms of government emerged, understanding themselves explicitly as nation-states. The new definition of the state had to include its members by defining them as citizens, a definition which included both equalizing and differentiating aspects. The education system fulfilled a key role in educating these future citizens. While the principal setting was not a national, I intend to show how this national logic shaped constructions of various types of nation-state citizens made through the public school based on empirical evidence from the Luxembourgian curriculum. In an exemplifying way, the motivation behind the respective changes and continuities will be uncovered concerning social differentiation in secondary education and a strong regional differentiation in the homebound lower branches of education.http://dx.doi.org/10.15572/ENCO2015.11

Author(s):  
Chad Seales

Secularization and secularism are interpretive narratives and analytical systems of locative naming that co-construct the category of religion in spatial relationship to the idea of the secular as not-religion. These approaches were developed in the 19th century to make sense of the social restructuring of industrial societies. They begin with the assumption that religion is spatially identifiable as Christian church space, as readily recognizable in built congregational structures. And they consider the secular, in the most literal sense, as that which is not. That is, the secular is everything physically outside church space. But secularization theorists often do not adhere to this literal interpretation of spatial difference. They also use space metaphorically in their understanding of “disestablishment” as referring to more than just the physical state-expropriation of church land, but also to the separation of spheres that results from nation-state legal sovereignty, particularly focused on the spatial division between secular culture and church subcultures. Whereas secularization theory offers narrative frames to orient a historical trajectory of religion in relation to not-religion, the study of secularism describes attempts to understand the political and legal regulation of religion in relation to sovereign nation-states. Methodological distinctions between secularization and secularism invoke a long-standing problem in the study of religion: the ability of the scholar to discern the difference between the metaphorical map of religion in relation to the idea of the secular, and the state governance of physical territory. Classical secularization theory was constructed within the colonial context of the 19th century, and it carries within itself the spatial distinctions that define an Enlightenment conception of the Western nation-state, as a secular sovereignty set apart from and transcendent of the revelatory particularity of religious authority. More recent versions of secularization theory in the United States still assume that only the secular state can transcend physical space and still control its boundaries and borders. Religious transcendence, by contrast, is viewed as otherworldly. The reason for this is because unlike secular authority, which is self-evident and universal, religious authority is revelatory and particular. Within secularization theory, religions then are limited in their ability to physically enact, in every sphere of life, their revelatory mandates. They can do so only as long as they maintain a high level of orthodox belief and practice, to the extent that there is no distinction between religious and cultural authority. Secularization theory thus assumes that religious pluralism of any kind results in a competition to see which religion can control all aspects of life. The nation-state then is viewed as the transcendent mediator of religious claims to civic life and public space. And while secularization theory considers this mediation in the spatial terms of public practice and private belief, studies of secularism give more attention to the historical and contextual limits of nation-state transcendence, as well as the ways in which nation-states physically bound religion as a category, whether as located in the legal limits of 501(c)(3) nonprofit status, or a congregational building with a street address. Though the term secularism has been a co-generative concept in classical secularization theory, theories of secularism have been more fully developed since the late 20th century. Some of those approaches have extended the spatial concerns of secularization theory, particularly as related to the question of religious endurance as measured in terms of public practice and private belief. The mere difference, which has garnered quite a bit of writing, is to shift the interpretive gaze away from the individual challenge of Protestant Christians to maintain a comprehensive religious meaning-making system, a “sacred canopy,” in the midst of increasing religious diversity, to the ability of “orthodox” religious subcultures to maintain religious authority in the midst of a pervasive secularism that is antagonistic to the possibility of any totalizing religion, one that is lived out in all spheres of life. Other theoretical approaches to secularism, however, are more directly engaged with post-colonial scholarship, and are more focused on the role of the nation-state in the categorical construction of religion, than they are worried about the social loss of traditional religion.


2005 ◽  
Vol 13 (S1) ◽  
pp. 1-36 ◽  
Author(s):  
MICHAEL ZÜRN ◽  
STEPHAN LEIBFRIED

The influence of the state on the trajectory of human lives is more comprehensive and sustained than that of any other organizational construct. We provide a definition of the modern nation-state in four intersecting dimensions – resources, law, legitimacy, and welfare – and review the history and status of each dimension, focusing on the fusion of nation and state in the 19th century, and the development of the ‘national constellation’ of institutions in the 20th. We then assess the fate of the nation-state after the Second World War and, with western OECD countries as our sample, track the rise and decline of its Golden Age through its prime in the 1960s and early 1970s. Finally, we identify the challenges confronting the nation-state of the 21st century, and use the analyses in the following eight essays to produce some working hypotheses about its current and future trajectory – namely, that the changes over the past 40 years are not merely creases in the fabric of the nation-state, but rather an unravelling of the finely woven national constellation of its Golden Age. Nor does there appear to be any standard, interwoven development of its four dimensions on the horizon. However, although an era of structural uncertainty awaits us, it is not uniformly chaotic. Rather, we see structured, but asymmetric change in the make-up of the state, with divergent transformations in each of its four dimensions. In general, nation-states are clinging to tax revenues and monopolies on the use of force, such that the resource dimension may change slowly if at all; the rule of law appears to be moving consistently into the international arena; the welfare dimension is headed in every direction, with privatization, internationalization, supra-nationalization, and defence of the national status quo, occurring at various rates for healthcare, pensions, public utilities, consumer protection, etc. in different countries. How, and whether, the democratic legitimacy of political processes will be ensured in such an incongruent, if not incoherent and paradoxical state is still unclear.


10.16993/bbm ◽  
2021 ◽  
Author(s):  
Monica Grini

Sápmi, the Sámi area, is transnational; it transcends four nation states, Norway, Sweden, Finland, and Russia. Art and art history has been considered natural parts of a nation state’s inventory at least since the 19th century and has contributed to the production and maintenance of national identities and narratives. What is the role of the nation state in art history, and how has the national paradigm affected the presentation of Sámi art, historically and today? Focusing on the discipline of art history in Norway, the volume exposes the prevailing representation of Sámi art, duodji, and dáidda as ethnographic material and relates it to the politics of nation building in the nineteenth and early twentieth century. The book examines the representation of Sámi art, artefacts, practices, materialites, actors, concepts, and themes in Norwegian Art History, to uncover some of the established disciplinary mechanisms and narratives. The central method is historiography in combination with fieldwork in archives and museums, aimed at doing art historiography in the expanded field – to move beyond the traditional textual focus and question naturalized institutional and disciplinary boundaries. This is one of very few historiographical studies of the art historical discipline in Norway, and the only one that does this by centring on Sámi traditions, items, actors, and conceptualizations.


Kinesik ◽  
2021 ◽  
Vol 8 (2) ◽  
pp. 189-200
Author(s):  
Surahman Cinu Surahman

Discourse on feminism can be seen in the struggle of a woman named Hajar. As the mother of the Prophets, Hajar helped support the foundation of civilization framed by Ismail, her son, as a form of social movement wrapped in spiritual awareness, that all forms of racism, feudalism and domination of capital, will disappear in the power of God. This is enshrined in the Hajj ritual, jogging between the hills of Safa and Marwah. Hajar is a historical cultural capital that is represented from class consciousness, which must be accumulated for future civilizations. That is why in an effort to explore these events, the meaning of symbols is needed, according to the model used in history. Meanwhile, the German female philosopher, Hannah Arendt said that there was an important change in the map of human civilization as a result of the 19th century European spirit which eroded and destroyed the structure of the nation's self, regarding the nation state. He highlighted the racism and imperialism of the century which combined a number of forces that were destructive to the public spheres of explanation for their own sake. Ironically, Indonesian women are actually indoctrinated that Western women's traditions are the best. This paper offers how the trend of feminism in Indonesia.


2009 ◽  
Vol 54 (1) ◽  
pp. 69-102
Author(s):  
Robin Rehm

Kasimir Malewitschs suprematistische Hauptwerke ›Schwarzes Quadrat‹, ›Schwarzer Kreis‹ und ›Schwarzes Kreuz‹ von 1915 setzen sich aus schwarzen Formen auf weißem Grund zusammen. Der Typus des Schwarzweißbildes weist überraschende Parallelen zu den bildlichen Wahrnehmungsinstrumenten auf, die vom ausgehenden 18. bis Anfang des 20. Jahrhunderts in den Experimenten der Farbenlehre, physiologischen Optik und Psychologie verwendet worden sind. Die vorliegende Studie untersucht diese Parallelen in drei Schritten: Zunächst erfolgt eine allgemeine Charakterisierung des Schwarzweißbildes mit Hilfe des Kontrastbegriffs von Edmund Husserl. Des weiteren wird die Entstehung und Funktion des schwarzweißen Kontrastbildes in den Wissenschaften des 19. Jahrhunderts typologisch herausgearbeitet. Unter Berücksichtigung des Wissensbegriffs von Max Scheler wird abschließend die Spezifik des Wissens eruiert, das die Schwarzweißbilder sowohl in der Malerei Malewitschs als auch in den genannten Wissenschaften generieren. Malevich’s main Suprematist works, such as ›Black Square‹, ›Black Circle‹, and ›Black Cross‹ from 1915, consist of black shapes on white ground. Surprisingly this series of shapes strongly resembles scientific black-and-white images used for research on colour theory, physiological optics, and psychology throughout the 19th century. This paper examines the parallels between Malevich’s paintings and the scientific drawings in three steps: It first characterizes black-and-white images in general, using Edmund Husserl’s definition of the term ›contrast‹. Secondly, the paper investigates the development and function of black-and-white images as tools of perception in the sciences. It finally discusses the specific knowledge generated through Malevich’s art and through scientific black-and-white images, following Max Scheler’s phenomenological identification of knowledge.


2020 ◽  
Vol 2020 (12-3) ◽  
pp. 242-249
Author(s):  
Alexander Sergeev ◽  
Ekaterina Bratukhina ◽  
Irina Kushova ◽  
Dmitriy Ovsyukov

The article examines the historical aspects of the evolution of the legislative definition of the age of onset of criminal responsibility and the specifics of sentencing juvenile offenders in the 18th and first half of the 19th century.


Revue Romane ◽  
2011 ◽  
Vol 46 (2) ◽  
pp. 282-293
Author(s):  
Margareth Hagen

The first chapters of Carlo Collodi’s Pinocchio were printed in 1881, the same year as the publication of the novel I Malavoglia, Giovanni Verga’s masterpiece of verismo. While every critical reader of Verga’s realism has pointed out his particular narrative interpretation of evolution, Collodi’s has novel very seldom been connected to the theories of evolution, even if Darwin’s ideas were highly present in the public debate in Florence during the last decades of the 19th century. The reasons for this silence are primarily to be found in the genre of Pinocchio, in the fact that it is children literature, and therefore primarily related to the narrative mechanisms of the fairy tales and pedagogical literature. Focusing on Pinocchio, the article discusses to which degree Darwinism can be traced in Collodi’s literature for children, and questions if the continuous metamorphoses of Pinocchio can be read also in connection with the naturalist conception of the literary characters as unstable, in continuous evolution, and not only as part of the mechanisms of fairy tales and mythological narratives.


2013 ◽  
Vol 12 (4) ◽  
pp. 177-188
Author(s):  
Mykola Bevz

In article are shown examples allow confirming that Roman cement was widely used in Lviv in the second part of the 19th century while erecting the public and residential buildings. The creating and develop a program on research, preservation and restoration of historical and architectural monuments, on which the architectural and ornamental finishing of facades was carried out with application of Roman cement is proposed.


2021 ◽  
Vol 12 (2) ◽  
pp. 197-216
Author(s):  
Pablo J. Torres Carbonell

Abstract. High-quality research developed during the 19th century established the foundations of rock strain investigations. Careful observation and description of rock fabrics and deformed objects in rocks allowed early researchers to obtain mathematical expressions that are still used today to quantify strain. Thus, in a span of a few decades, and applying basic scientific methodology, these researchers developed the concept of the strain ellipsoid, defined mathematically the difference between constant-volume and volume-loss deformation, constructed the basic equations that define pure and simple shear deformation, and discovered the mechanism of pressure–solution deformation. These advances were fundamental to seminal works on strain analysis and deformation fabrics in the mid-20th century. However, they are rarely addressed in modern studies, which suggests a lack of awareness among current researchers. In order to bring attention to these landmarks of strain research, I provide a historical review of the high standards of analysis that led to the definition of the fundamental equations and concepts on strain during the 19th century.


Author(s):  
Elizabeth Holt

In the mid-19th century, the Arabic novel emerged as a genre in Ottoman Syria and khedival Egypt. While this emergence has often been narrated as a story of the rise of nation-states and the diffusion of the European novel, the genre’s history and ongoing topography cannot be recovered without indexing the importance of Arabic storytelling and Islamic empire, ethics, and aesthetics to its roots. As the Arabic periodicals of Beirut and the Nile Valley, and soon Tunis and Baghdad, serialized and debated the rise of the novel form from the 19th century onward, historical, romantic, and translated novels found an avid readership throughout the Arab world and its diaspora. Metaphors of the garden confronted the maritime span of European empire in the 19th-century rise of the novel form in Arabic, and the novel’s path would continue to oscillate between the local and the global. British, French, Spanish, and Italian empire and direct colonial rule left a lasting imprint on the landscape of the region, and so too the investment of Cold War powers in its pipelines, oil wells, and cultural battlefields. Whether embracing socialist realism or avant-garde experimentation, the Arabic novel serves as an ongoing register of the stories that can be told in cities, villages, and nations throughout the region—from the committed novels interrogating the years of anticolonial national struggles and Arab nationalism in the 1950s and 1960s, through the ongoing history of war, surveillance, exile, occupation, and resource extraction that dictates the subsequent terrain of narration. The Arabic novel bears, too, an indelible mark left by translators of Arabic tales—from 1001 Nights to Girls of Riyadh—on the stories the region’s novelists tell.


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