scholarly journals The Influence of the Union of Brest on the Formation of Cultural Identity of Podlasie

2015 ◽  
Vol 15 ◽  
Author(s):  
Marcin Składanowski
Keyword(s):  
Cultural Identity ◽  
Material Culture ◽  
History Of

The article aims to show these elements of the cultural identity of Podlasie that were shaped by the Union of Brest. The history of the Union in Podlasie, from the time of its setting up until its forceful and often bloody dissolution by tsarist authorities, as well as the traces of the Union preserved nowadays in spiritual and material culture indicate the fundamental role it played in forming the cultural identity of the region.

scholarly journals Population of Pripyat Polesie in the 1st millennium AD

2021 ◽  
Vol 66 (2) ◽  
pp. 163-168
Author(s):  
N. N. Dubitskaya
Keyword(s):  
Cultural Identity ◽  
Material Culture ◽  
Main Attention ◽  
History Of ◽  
Source Study ◽  
Study Base

The article is devoted to the history of the settlement of the Pripyat Polesye in the 1st millennium AD. The main attention is paid to the monuments of the first half of the 1st millennium AD, their dating and cultural identity. It is noted that at present the source study base does not allow to reliably “make ancient” the Slavic Prague culture in the Pripyat Polesie until the IV century. and associate it with the monuments of the post-Zarubinets circle. At the end of the III century BC tribes of the Zarubintsy culture came to the territory of Pripyat Polesye. This is the period of decline of the previous Milograd culture (VIII – III centuries BC). The “Milograd” features undoubtedly gave their specific features to the material culture of the Polesie Zarubintsy. By the middle of the 1st century. Zarubinets culture in Pripyat Polesie ceased to exist. It was believed that between the Zarubintsy culture and the Prague Slavic culture of the 5th–7th centuries there is a chronological gap.

scholarly journals In Light of the Lamps: A Comprehensive Analysis of the Ceramic Oil Lamps from the Roman Fort at Humayma

2021 ◽  
Author(s):  
Lilly Hickox
Keyword(s):  
Cultural Identity ◽  
Material Culture ◽  
Contextual Information ◽  
Archaeological Site ◽  
Comprehensive Analysis ◽  
Regional Trade ◽  
Complete Evaluation ◽  
Permanent Settlement ◽  
History Of ◽  
Trade Route

The archaeological site of Humayma, located at the northwest corner of the Hisma desert of Jordan, has a long history of permanent settlement; beginning with the Nabataeans, followed by Roman, Byzantine, and Islamic occupations. Shortly after Emperor Trajan’s conquest of the Nabataean Kingdom in 106 CE, a Roman fort emerged alongside the pre-existing trade route, which the Romans renamed the Via Nova Traiana. Excavations at the fort, directed by J. P. Oleson in 1995, 1996, 2000, 2004, and 2005 and M. B. Reeves in 2012, unearthed a collection of ceramic oil lamps, comprised of four complete lamps and fifty-eight fragments. The author recently carried out a complete evaluation of the fort’s ceramic lamp collection, remotely analysing the lamps based on project images, descriptions, and contextual information in order to produce a catalogue and report. Results included Nabataean, Roman, and Byzantine types, dating from the 1st to 5th century CE, revealing an intricate and diverse account of material culture at the fort. The Nabatean rosette lamp and Byzantine slipper lamp were the two most prevalent types, while few Roman lamps were found. The author interpreted data and made suggestions in light of the history, regional trade, stratigraphic complexities, and evolving cultural identity of the site. This poster summarizes the ceramic lamp findings, identifies anomalous items, and considers the significance of chronological aberrations in relation to the fort’s military and civilian occupations over 400 years.

Introduction

2017 ◽  
Author(s):  
Tom Hamilton
Keyword(s):  
Sixteenth Century ◽  
Material Culture ◽  
Early Modern ◽  
Everyday Life ◽  
Civil Wars ◽  
Modern History ◽  
Early Modern History ◽  
History Of Collecting ◽  
History Of ◽  
Late Renaissance

This chapter explores the material culture of everyday life in late-Renaissance Paris by setting L’Estoile’s diaries and after-death inventory against a sample of the inventories of thirty-nine of his colleagues. L’Estoile and his family lived embedded in the society of royal office-holders and negotiated their place in its hierarchy with mixed success. His home was cramped and his wardrobe rather shabby. The paintings he displayed in the reception rooms reveal his iconoclastic attitude to the visual, contrasting with the overwhelming number of Catholic devotional pictures displayed by his colleagues. Yet the collection he stored in his study and cabinet made him stand out in his milieu as a distinguished curieux. It deserves a place in the early modern history of collecting, as his example reveals that the civil wars might be a stimulus as much as a disruption to collecting in sixteenth-century France.

Introduction

2018 ◽  
Author(s):  
Elena Lombardi
Keyword(s):  
Material Culture ◽  
The State ◽  
Women Readers ◽  
History Of Reading ◽  
Documentary Evidence ◽  
Cultural Events ◽  
Visual Models ◽  
Woman Reader ◽  
History Of ◽  
Female Literacy

This chapter explores a more concrete and historicized figure of the woman reader. It explores the forces that make her appear and disappear, and surveys the state of knowledge on medieval female literacy, and the documentary evidence on women readers. It investigates typically female modes of reading (such as the educational, the devotional, and the courtly) and the visual models that were available to vernacular authors to forge their imagined textual interlocutor. It shows how the protagonist of this book is the product of two cultural events within the history of reading and the material culture of the book: the raise of literacy among the laity and women in the years under consideration, and a changed scenario insofar as theories and practices of reading are concerned.

Imagining the Woman Reader in the Age of Dante

2018 ◽  
Author(s):  
Elena Lombardi
Keyword(s):  
Material Culture ◽  
Mother Tongue ◽  
The Other ◽  
Women Readers ◽  
Literary Authority ◽  
Woman Reader ◽  
History Of ◽  
Female Literacy ◽  
Female Audience ◽  
Shed Light

The literature of the Italian Due- and Trecento frequently calls into play the figure of a woman reader. From Guittone d’Arezzo’s piercing critic, the ‘villainous woman’, to the mysterious Lady who bids Guido Cavalcanti to write his grand philosophical song, to Dante’s female co-editors in the Vita Nova and his great characters of female readers, such as Francesca and Beatrice in the Comedy, all the way to Boccaccio’s overtly female audience, this particular sort of interlocutor appears to be central to the construct of textuality and the construction of literary authority in these times. The aim of this book is to shed light on this figure by contextualizing her within the history of female literacy, the material culture of the book, and the ways in which writers and poets of earlier traditions (in particular Occitan and French) imagined her. Its argument is that these figures of women readers are not mere veneers between a male author and a ‘real’ male readership, but that, although fictional, they bring several advantages to their vernacular authors, such as orality, the mother tongue, the recollection of the delights of early education, literality, freedom in interpretation, absence of teleology, the beauties of ornamentation and amplification, a reduced preoccupation with the fixity of the text, the pleasure of making mistakes, dialogue with the other, the extension of desire, original simplicity, and new and more flexible forms of authority.

scholarly journals Architectural ruins: geoculture of the anatomy of buildings as illustrated by Casa Ippolito, Malta

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Lino Bianco
Keyword(s):  
Material Culture ◽  
Building Materials ◽  
Raw Materials ◽  
Primary Source ◽  
Secondary Sources ◽  
Non Invasive ◽  
History Of ◽  
Aerial Vehicle ◽  
Materials Used ◽  
Building Physics

AbstractRuins are a statement on the building materials used and the construction method employed. Casa Ippolito, now in ruins, is typical of 17th-century Maltese aristocratic country residences. It represents an illustration of secondary or anthropogenic geodiversity. This paper scrutinises these ruins as a primary source in reconstructing the building’s architecture. The methodology involved on-site geographical surveying, including visual inspection and non-invasive tests, a geological survey of the local lithostratigraphy, and examination of notarial deeds and secondary sources to support findings about the building’s history as read from its ruins. An unmanned aerial vehicle was used to digitally record the parlous state of the architectural structure and karsten tubes were used to quantify the surface porosity of the limestone. The results are expressed from four perspectives. The anatomy of Casa Ippolito, as revealed in its ruins, provides a cross-section of its building history and shows two distinct phases in its construction. The tissue of Casa Ippolito—the building elements and materials—speaks of the knowledge of raw materials and their properties among the builders who worked on both phases. The architectural history of Casa Ippolito reveals how it supported its inhabitants’ wellbeing in terms of shelter, water and food. Finally, the ruins in their present state bring to the fore the site’s potential for cultural tourism. This case study aims to show that such ruins are not just geocultural remains of historical built fabric. They are open wounds in the built structure; they underpin the anatomy of the building and support insights into its former dynamics. Ruins offer an essay in material culture and building physics. Architectural ruins of masonry structures are anthropogenic discourse rendered in stone which facilitate not only the reconstruction of spaces but also places for human users; they are a statement on the wellbeing of humanity throughout history.

The Opera and the Omnibus: Material Culture, Urbanism and Boieldieu's La dame blanche

2020 ◽  
Vol 32 (1) ◽  
pp. 90-114
Author(s):  
Nicole Vilkner
Keyword(s):  
Material Culture ◽  
Business Model ◽  
Public Transportation ◽  
Reception History ◽  
Transportation Systems ◽  
Mass Transportation ◽  
Musical Work ◽  
The World ◽  
History Of

AbstractIn the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of circulation, the omnibuses also had a profound effect on the reception history of Boieldieu's opera. When the omnibuses improved the quality of working- and middle-class life, bourgeois Parisians applauded the vehicles’ egalitarian business model, and Boieldieu's opera became unexpectedly entwined in the populist rhetoric surrounding the omnibus. Viewing opera through the lens of the Dames Blanches, Parisians conflated the sounds of opera and street, as demonstrated by Charles Valentin Alkan's piano piece Les omnibus, Op. 2 (1829), which combines operatic idioms and horn calls. Through these examples and others, this study examines the complex ways that material culture affects the dissemination and reception of a musical work.

Metal burial: Understanding caching behaviour and contact material culture in Australia's NE Kimberley

2021 ◽  
Vol 21 (1) ◽  
pp. 28-52
Author(s):  
Sam Harper ◽  
Ian Waina ◽  
Ambrose Chalarimeri ◽  
Sven Ouzman ◽  
Martin Porr ◽  
...  
Keyword(s):  
Material Culture ◽  
Cultural Practices ◽  
Raw Materials ◽  
Cross Cultural ◽  
Contact Material ◽  
Northern Australia ◽  
Assemblage Theory ◽  
Close Proximity ◽  
History Of ◽  
Human Burials

This paper explores identity and the recursive impacts of cross-cultural colonial encounters on individuals, cultural materials, and cultural practices in 20th-century northern Australia. We focus on an assemblage of cached metal objects and associated cultural materials that embody both Aboriginal tradition and innovation. These cultural materials were wrapped in paperbark and placed within a ring of stones, a bundling practice also seen in human burials in this region. This ‘cache' is located in close proximity to rockshelters with rich, superimposed Aboriginal rock art compositions. However, the cache shelter has no visible art, despite available wall space. The site shows the utilisation of metal objects as new raw materials that use traditional techniques to manufacture a ground edge metal axe and to sharpen metal rods into spears. We contextualise these objects and their hypothesised owner(s) within narratives of invasion/contact and the ensuing pastoral history of this region. Assemblage theory affords us an appropriate theoretical lens through which to bring people, places, objects, and time into conversation.

Spaces of Exclusion: The Significance of Cultural Identity in the Formation of European Residential Districts in British Hong Kong, 1877–1904

10.1068/d310 ◽  
2003 ◽  
Vol 21 (2) ◽  
pp. 223-252 ◽  
Author(s):  
G Alex Bremner ◽  
David P Y Lung
Keyword(s):  
Hong Kong ◽  
Cultural Identity ◽  
Social History ◽  
Urban Form ◽  
European Population ◽  
Capital City ◽  
The Social ◽  
History Of ◽  
Residential District ◽  
Cultural Self

In this paper we discuss the role and significance of European cultural identity in the formation of the urban environment in 19th-century and early-20th-century British Hong Kong. Our purpose is to offer an alternative reading of the social history of Hong Kong-the orthodox accounts of which remain largely predominant in the general historical understanding of that society-by examining the machinations that surrounded attempts by the European colonial elite to control the production of urban form and space in the capital city of Hong Kong, Victoria. Here the European Residential District ordinance of 1888 (along with other related ordinances) is considered in detail. An examination of European cultural self-perception and the construction of colonial identity is made by considering not only the actual ways in which urban form and space were manipulated through these ordinances but also the visual representation of the city in art. Here the intersection between ideas and images concerning civil society, cultural identity, architecture, and the official practices of colonial urban planning is demonstrated. It is argued that this coalescing of ideas, images, and practices in the colonial environment of British Hong Kong not only led to the racialisation of urban form and space there but also contributed to the apparent anxiety exhibited by the European population over the preservation of their own identity through the immediacy of the built environment.

Kharkiv Scenography School of O. Khvostenko-Khvostov: The Experience of Professionalization

2021 ◽  
Vol 2021 (02) ◽  
pp. 85-95
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Material Culture ◽  
Teaching Practice ◽  
Early Years ◽  
Music And Literature ◽  
Avant Garde ◽  
Theatrical Design ◽  
Outstanding Teachers ◽  
History Of ◽  
Compulsory Subject ◽  
The City

The article is devoted to the early years of formation of Kharkiv scenography school and to the creative and pedagogical activities of Olexander Khvostenko-Khvostov (1895–1967). It was reported that the bold experiments of this artist, in the field of theatrical design of 1918–1922, made him one of the central figures of Kharkiv avant-garde scene (“Mystery Buff”; “The Army in the City”; “Lilyuli”, etc), strengthening the reputation of an innovator and causing the beginning of pedagogical activity at the Kharkiv Art College in 1921. The theatrical and decorative workshop was opened at the faculty of painting at the Kharkiv Art College in 1922, it was headed by A. Khvostenko-Khvostov. Among the first graduates were such bright alumni as A. Volnenko, P. Suponin, V. Ryftin, A. Bosulaev, B. Chernyshov, and others. Fundamental provisions of the educational program, which A. Khvostenko borrowed from the teaching practice of A. Exter (Kyiv Studio, 1918–1920), reflected the formation idea of future theater artist’s synthetic thinking. It is known that the education program of the Theater and Scenery Workshop of KAC, equally with the Studio of A. Exter, in addition to the subjects common to all students of painting and drawing faculty as special subjects (theatrical scenery, technique and technology of the stage, etc.) included also the history of theater (I. Turkeltaub), material culture, costume, music and literature (A. Beletsky). O. Khvostenko paid special attention to theoretical and practical issues of composition. He introduced the course of fundamentals of directing (V. Vasilko) as a compulsory subject. Much of what the students mastered at the Workshop was tested on the professional stages of Kharkiv theaters. Associated with the Kharkiv Art School for a quarter of a century (1921–1946), O. Khvostenko-Khvostov has not still been included in the pantheon of its outstanding teachers.

Sign in / Sign up

Export Citation Format

Share Document