scholarly journals Table Manners

Author(s):  
Christopher Wesolowski

Why do we eat the way we do? It is a simple question, but one that is rooted in a deep history of social customs and politics. This paper surveys the past thousand years of table manners through looking at popular courtesy handbooks both translated and written in late medieval Western Europe. It has been argued that table manners are imposed by the royalty and the upper echelons of society in order to have control over the functions of the middle and lower classes, but this paper extends this idea to explore how the population sought to either make fun of or emulate their higher ups. By looking at the history of table manners a great deal can be explored regarding the way in which medieval peoples thought about how they ate, and why it mattered.

Transilvania ◽  
2021 ◽  
pp. 22-34
Author(s):  
Andreea Apostu

This paper aims to analyze the way in which Mircea Eliade became, in 1926, a vector of the cultural and scientific transfer between Western Europe and Romania, through his translations of eight fragments from Aldo Mieli, Raffaele Pettazzoni and Sylvain Lévi’s major works. Two out of these eight translations seem to have been ignored to this day by researchers, whilst the others have only been mentioned in passing. The choices made by Eliade, the context in which these translations were published (the journal Orizontul/The Horizon and its public, the precarious state of the history of religions at that time in Romania etc.) and their echoes in Eliade’s works prove that they can be seen as an example of cultural transfer. They also play an important part in the foundation of the history of religions as a discipline in Romania, being, in a way, the textual equivalents of Eliade’s institutional aspiration to found an association and a library for the study of religions, as expressed in his letters to Raffaele Pettazzoni.


2021 ◽  
Author(s):  
◽  
Grace Campbell Russell

<p>This dissertation is concerned with the ways in which photographs are discursively deployed and used in the writing of history. More specifically, it will consider how photos, and the historical, scientific, ethnographic and romantic discourses surrounding them, are used to erase or ‘make safe’ the traces of the radical resistances of dominated groups within colonial frameworks. The case explored here concerns the tintype photograph claimed as being of the Lakota chief and warrior Crazy Horse (c.1840-1877). Exhibited by the Custer Battlefield Museum in Montana, the claim that this photograph is of Crazy Horse is controversial. It is generally thought that no visual likeness of Crazy Horse exists; and his refusal to be photographed can be read as a practice of opposition to his assimilation into colonial narratives and accounts of American frontier history. In claiming the photo to be of Crazy Horse, the history of his resistance is rewritten and repositioned. This changes the way he becomes knowable and understandable within the contexts of (neo)colonial discourses and narratives, in which Native Americans are often relegated to the past, and appear either as casualties of the policies of Manifest Destiny, or as a romantic other which has been symbolically integrated into American mythic culture. This dissertation focuses on how the claim that this photograph is of Crazy Horse is made, and how the various associated cultural fields (photography, historiography, museology) are affected by, and play into, such a claim. This involves identifying the discursive processes and disciplinary mechanisms through which meaning is produced in relation to a particular cultural object. It considers the supposed photograph of Crazy Horse as an example of how history assigns significance to objects “in terms of the possibilities they generate for producing or transforming reality” (de Certeau, 1986:202), rather than as representations or reflections of reality.</p>


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.


Author(s):  
Tom Conley

Michel de Certeau, a French philosopher trained in history and ethnography, was a peripatetic teacher in Europe, South America and North America. His thought has inflected four areas of philosophy. He studied how mysticism informs late-medieval epistemology and social practice. With the advent of the Scientific Revolution, the affinities the mystic shares with nature and the cosmos become, like religion itself, repressed or concealed. An adjunct discipline, heterology, thus constitutes an anthropology of alterity, studying the ‘other’ and the destiny of religion since the sixteenth century. De Certeau opens the hidden agendas that make representations of the past a function of social pressures, so that sometime histories are rearticulated in mirrored or subversive forms. This subversion makes accessible a general philosophy of invention that works within and against the strategic policies of official institutions. De Certeau’s writings also belong to activism, the history of ideological structures, psychoanalysis, and post-1968 theories of writing (écriture) as defined by Deleuze, Derrida, Foucault and Lyotard.


Author(s):  
Laurence Brockliss

Childhood in western Europe is obviously a vast topic, and this entry will approach it historically and largely chronologically. The study of childhood is still relatively new, and historians have sometimes struggled to construct a history of childhood, with very few firsthand accounts and limited archives. So many children left very few traces of their lives, and historians have had to piece together their history, not from diaries or archives but from court reports, visual representations, and childcare manuals. They have had to struggle to recapture the world of childhood in eras prior to 1800, when sources are especially limited. They, like others interested in childhood studies, have had to address the issue of how to define a child and what childhood is. They have had to contemplate the different historical meanings of the word child prior to 1600 and to resist the temptation to believe that childhood has inevitably improved through the centuries. They have also had to become aware of the dangers of historicizing a phenomenon that has few stable parameters and, in some cultures, may not even exist at all. In several languages there is no word for child; even in English, the word has drastically shifted its meaning over the centuries. These shifts need to be historicized in order to see both the continuities and the discontinuities between the past and the present that suggest that childhood has always been a time of suffering; children have always been the victims of perilous disease, parental neglect, government policy, war, etc. Concurrently, children have also always been the hope of the future, the focus of special love and attention. A historical perspective on European childhoods brings this insight into sharp focus.


1967 ◽  
Vol 3 (3) ◽  
pp. 296-307
Author(s):  
Fritz Fellner ◽  
Friedrich Gottas

At this moment I understand how Ludwig August von Benedek must have felt in the late spring of 1866 when charged with a task for which he felt inadequate, because find myself in a similar situation. In no way can my remarks meet the standard set in the paper which Prof. Schroeder has presented to the conference. The reason for this difference partly to be found in the topic itself, for in a certain way. I think, Mr. Schroeder's assignment to examine the American literature was an easy one. He had to read a huge number studies published in the past years by American scholars specializing in research on the Habsburg monarchy; his task was to select and to organize. My task turned out to be completely different. When I tried to find studies of the Habsburg monarchy published in Western Europe after 1945, instead selecting from a plethora of material, I had to determine whether there actually was as little material available as there appeared to be. When, at my request, Dr. Friedrich Gottas, of the Historical Institute of the University of Salzburg, checked my findings through a careful search of bibliographies and periodicals, his research supported my theory that after 1945 the history of the Habsburg monarchy was not a favorite topic among historians in Western Europe. Given this circumstance, I thought it best to concentrate my informal observations on certain trends which in my opinion have been noticeable in Western European historiography since 1945.


2017 ◽  
Vol 29 (1) ◽  
pp. 102
Author(s):  
Mikael Strömberg

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.


Author(s):  
David Paroissien

This chapter questions the view that Dickens took little interest in history and remained ignorant of the challenge of writing about the past. Following John Forster’s dismissal of A Child’s History of England as ‘that little book’, which ‘cannot be said to have quite hit the mark’, A Child’s History, Barnaby Rudge, and A Tale of Two Cities have received often unsympathetic treatment, particularly with respect to the way the past is used in his two historical novels. Read within the context of ideas about history advocated by Carlyle and Macaulay in the 1830s, this chapter contends that fresh light can be shed on Dickens’s awareness of historiography and on his familiarity with an invigorated approach to the discipline advocated by the two most prominent historians of the first half of the nineteenth century.


2015 ◽  
Vol 24 (4) ◽  
pp. 475-491 ◽  
Author(s):  
MORITZ FÖLLMER ◽  
MARK B. SMITH

How can we write the history of urban societies in Europe after 1945? This article offers an interpretative overview of key developments in both Eastern and Western Europe, while also discussing some key conceptual issues. Along the way, it takes stock of the relevant historiography (much of which is very recent) and introduces a selection of papers from a cycle of three international workshops held between 2011 and 2013. The papers range geographically from Britain to the Soviet Union and cover topics as diverse as post-war reconstruction and alternative communities in the 1970s. Their respective approaches are informed by an interest in the way societies have been imagined in discourses and reshaped in spatial settings. Moreover, the papers move beyond case studies, urban history's classic genre, and can therefore facilitate synthetic reflection. It is our hope that, in so doing, we can make urban history more relevant to contemporary European historians in general.


Rural History ◽  
2006 ◽  
Vol 17 (2) ◽  
pp. 117-147 ◽  
Author(s):  
ALEKSANDAR N. BRZIĆ

Ducats were issued for the first time in the second half of the thirteenth century. Although practically invisible in Western Europe nowadays, they are still hoarded and used by the rural population of the Balkans. The wealth stored in them is considerable; its level does not show signs of structural decline yet, even in the age of the almighty euro. The history of the use of ducats in the Balkans can be divided into three distinctive periods. Using a descriptive economic-historical approach, the characteristics of these periods, their main evolutionary aspects and particularities are being observed and explained. An overview of countries issuing ducats in the Balkans is given and some economic comparisons used to illustrate the significance of ducats as an economic phenomenon. Finally, the very important question of the use of ducats in jewelry in the Balkans is considered.


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