scholarly journals (Re)covered Memory: Memorialisation, Race, and Architecture

2021 ◽  
Author(s):  
◽  
Max Wiles
Keyword(s):  
Urban Space ◽  
Cultural Memory ◽  
The Other ◽  
Active Engagement ◽  
Architectural Practice ◽  
The Past ◽  
Significant Events ◽  
History Of ◽  
A Site ◽  
History Of Place

<p>The tendency to record only built memory and significant events in architectural practice means that less tangible cultural memory is prone to erasure. This is prevalent in the memories of the other which often diverge from the majority, and so are not considered for preservation. In this context, cultural memory refers to the intangible qualities and experiences which define place, associated with a particular group. While initiatives such as heritage listings can preserve the physical history of place, little is done to preserve intangible history which has been lost through development and gentrification.  To investigate strategies for reasserting cultural memory in urban space, Haining Street in Wellington is engaged as a site. From approximately 1890 to 1960, Haining Street was Wellington’s Chinatown and home to the largest Chinese population in New Zealand. Despite a long, and often controversial history, this legacy has virtually been erased from the contemporary streetscape, creating an area of note only for a vanished past. This thesis proposes that the memory of Haining Street’s Chinese past can be reasserted through an artist in residence scheme, consisting of a gallery, workshop and accommodation.  Architectural intervention within spaces where history has been erased can reassert memory of the other, creating an identifiable place by: memorialising the intangible qualities of place, engaging with the legacy of race in the built environment, and creating a sensual experience of place. This research suggests that architecture has the potential to reconcile conflicted recollections of the past through an active engagement with the memory of place.</p>

scholarly journals (Re)covered Memory: Memorialisation, Race, and Architecture

2021 ◽  
Author(s):  
◽  
Max Wiles
Keyword(s):  
Urban Space ◽  
Cultural Memory ◽  
The Other ◽  
Active Engagement ◽  
Architectural Practice ◽  
The Past ◽  
Significant Events ◽  
History Of ◽  
A Site ◽  
History Of Place

<p>The tendency to record only built memory and significant events in architectural practice means that less tangible cultural memory is prone to erasure. This is prevalent in the memories of the other which often diverge from the majority, and so are not considered for preservation. In this context, cultural memory refers to the intangible qualities and experiences which define place, associated with a particular group. While initiatives such as heritage listings can preserve the physical history of place, little is done to preserve intangible history which has been lost through development and gentrification.  To investigate strategies for reasserting cultural memory in urban space, Haining Street in Wellington is engaged as a site. From approximately 1890 to 1960, Haining Street was Wellington’s Chinatown and home to the largest Chinese population in New Zealand. Despite a long, and often controversial history, this legacy has virtually been erased from the contemporary streetscape, creating an area of note only for a vanished past. This thesis proposes that the memory of Haining Street’s Chinese past can be reasserted through an artist in residence scheme, consisting of a gallery, workshop and accommodation.  Architectural intervention within spaces where history has been erased can reassert memory of the other, creating an identifiable place by: memorialising the intangible qualities of place, engaging with the legacy of race in the built environment, and creating a sensual experience of place. This research suggests that architecture has the potential to reconcile conflicted recollections of the past through an active engagement with the memory of place.</p>

scholarly journals Caesura of History: Performing Greek Tragedy after Brecht

2017 ◽  
Vol 2 (2) ◽  
pp. 241
Author(s):  
Matthias Dreyer
Keyword(s):  
Greek Tragedy ◽  
Point Of View ◽  
The Other ◽  
The Past ◽  
History Of ◽  
The One ◽  
A Site ◽  
Established Order ◽  
The Way

Taking into account the intertwining of the theory of tragedy on the one hand and theatrical work on ancient tragic texts on the other, the paper explores the way in which tragedy poses the question of history. This is especially the case in conceptions of tragedy as an interruption in a continuum. Hölderlin’s idea of caesura, its reflection in Benjamin’s understanding of tragedy as a revision of myth are in the center of a critical dramaturgy of this kind. By analysing Brecht’s work on Antigone as well as the stagings of critical theatre makers that came after Brecht (Einar Schleef, Dimiter Gotscheff), the paper shows the consequences of the concept ‘tragedy as caesura‘ on the level of the aesthetics of the theatre, unclosing in a radical way the temporality of the tragic process. From this point of view, tragedy is understood as a site of encounter with the persisting powers of the past; as reflexive rupture in the transition between times, that undermines the established order, but without, however, arriving at a new one. Although in the history of theatre and thought tragedy has been too often associated with the universal and timeless, how is it possible to think of historicity in a way negating submission under the universal without losing the genre of tragedy itself?

From ‘commercial sell out’ to community-based event: The paradoxes of Polish punk rock music festivals

2021 ◽  
Vol 00 (00) ◽  
pp. 1-20
Author(s):  
Waldemar Kuligowski
Keyword(s):  
Rock Music ◽  
Field Research ◽  
Punk Rock ◽  
The Other ◽  
Social Changes ◽  
Community Based ◽  
Music Festivals ◽  
The Past ◽  
Significant Events ◽  
History Of

This article is based on both ethnographic field research and the author’s many years of experience as a punk fan. The researcher-participant analyses the 40-year history of two Polish music festivals in order to trace the complex trajectory and changing meaning of the punk subculture in Poland. The analysis is centred on two significant events: the Jarocin Rock Festival and the Rock on the Swamp Festival. The author suggests that the countercultural past of punk, rooted in the 1980s, is now being sentimentalized and commercialized. It is treated by conservative local authorities as an insignificant monument of the past. On the other hand, punk has become an agent of important and surprising social changes. A small festival in a provincial town is inclusive for its inhabitants, integrating two very different communities. Thanks to this, the notion of ‘selling out’ is contrasted in the form of a punk-inspired, community-based event.

"BUT TOUCH THE LAW AND THE SECT WILL SPLIT:" LEGAL DISPUTE AS THE CAUSE OF SECTARIAN SCHISM

2002 ◽  
Vol 5 (3) ◽  
pp. 301-315 ◽  
Author(s):  
Albert Baumgarten
Keyword(s):  
The Other ◽  
The Past ◽  
History Of ◽  
The Law ◽  
Definition Of ◽  
A Site ◽  
Complete History

AbstractMy intention in this paper is to take issue with a view widely held among scholars in the field, an opinion I shared in the past but that I have also questioned and ultimately come to reject. To set the stage for accomplishing this goal let me begin with a definition of a historian offered by my late teacher, Professor Elias Bickerman. He called a historian a "digger in texts." The comparison to an archeologist, who digs in the ground, is enlightening. Every layer of a site contributes something to the complete history of its occupation, and that total picture can only be drawn on the basis of information from every layer, in which each layer teaches us something about any and all of the other layers. Nevertheless, an archeologist digging at a particular site is usually most interested in the remains from one particular stratum. For that archeologist, these remains are of the greatest importance.

The “National Amnesia” in the Traditional History of Iran

Der Islam ◽  
2020 ◽  
Vol 97 (2) ◽  
pp. 500-532
Author(s):  
Gregor Schoeler
Keyword(s):  
Cultural Memory ◽  
Oral Tradition ◽  
Field Research ◽  
Narrative Structure ◽  
The Other ◽  
Detailed Knowledge ◽  
National History ◽  
The Past ◽  
History Of ◽  
Historical Tradition

AbstractIt is well known that the pre-Islamic “national history” of Iran (i.&#x200A;e., the indigenous secular historical tradition, transmitted orally over many centuries) knows nothing at all, or as good as nothing, about the dynasties and empires of the Medes, Achaemenids, Seleucids, and Parthians (ca.&#x00A0;700 BCE–226 CE). It is first with the Sasanians (226‒651 CE) that Iran’s “national history” evinces more detailed knowledge. Instead of reports on the historical Medes and Achaemenid dynasties, accounts of mythical and legendary dynasties, the Pīšdādians and Kayānians, are found.In this essay, an attempt will be made to explain this “gap” in the pre-Islamic historical tradition, this “strange historical (or national) amnesiaˮ (Ehsan Yarshater) in the cultural memory of the Iranians, with the help of a theory on the structure and modality of oral tradition, based on field research, by the Belgian historian and anthropologist Jan Vansina. The structure in question concerns a tripartite perception of the past: a wealth of information about antiquity (traditions of origin or creation and reports on culture heroes)&#x00A0;– plenty of information, too, on the recent and most recent times&#x00A0;– and lying between them, a “gap” in the accounts. Vansina described this phenomenon as the “hourglass effect.” This is exactly the narrative structure of Iranian national history; it is evident that the Achaemenids and the other pre-Christian dynasties fall into the “gap” described by Vansina.The same phenomenon can also be detected on the level of Sasanian history. We find there a plethora of information on the founder of the dynasty, Ardašīr (reigned 226‒241 CE); meanwhile, very few details are known of the kings following Ardašīr, and it is only as of Kavād&#x00A0;I (reigned 488‒496 and 499‒531 CE) that we have outstanding historical information.

Camus's Absurd and the World of Melville's Confidence-Man

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer
Keyword(s):  
Careful Analysis ◽  
The Other ◽  
The Novel ◽  
The Past ◽  
The World ◽  
Critical Attention ◽  
Confidence Man ◽  
Ugly Duckling ◽  
History Of ◽  
The One

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”

scholarly journals Scarred souls, weary warriors, and military intervention: the emergence of the subject in the just war writings of Jean Bethke Elshtain

2012 ◽  
Vol 39 (4) ◽  
pp. 859-880 ◽  
Author(s):  
PETER LEE
Keyword(s):  
International Relations ◽  
Political Theory ◽  
Just War ◽  
Military Intervention ◽  
Military Force ◽  
The Past ◽  
History Of ◽  
The Subject ◽  
Just War Tradition ◽  
A Site

AbstractOver the past three decades Jean Bethke Elshtain has used her critique and application of just war as a means of engaging with multiple overlapping aspects of identity. Though Elshtain ostensibly writes about war and the justice, or lack of justice, therein, she also uses just war a site of analysis within which different strands of subjectivity are investigated and articulated as part of her broader political theory. This article explores the proposition that Elshtain's most important contribution to the just war tradition is not be found in her provision of codes or her analysis of ad bellum or in bello criteria, conformity to which adjudges war or military intervention to be just or otherwise. Rather, that she enriches just war debate because of the unique and sometimes provocative perspective she brings as political theorist and International Relations scholar who adopts, adapts, and deploys familiar but, for some, uncomfortable discursive artefacts from the history of the Christian West: suffused with her own Christian faith and theology. In so doing she continually reminds us that human lives, with all their attendant political, social, and religious complexities, should be the focus when military force is used, or even proposed, for political ends.

1. On the Philological Genius and Character of the Neo-Hellenic Dialect

1875 ◽  
Vol 8 ◽  
pp. 31-31
Author(s):  
Blackie
Keyword(s):  
Middle Ages ◽  
Present State ◽  
Historical Review ◽  
Popular Literature ◽  
The Other ◽  
Greek Language ◽  
Modern Language ◽  
The Past ◽  
History Of ◽  
Of Greece

The Author showed by a historical review of the fortunes of Greece, through the Middle Ages, and under the successive influences of Turkish conquest and Turkish oppression, how the Greek language had escaped corruption to the degree that would have caused the birth of a new language in the way that Italian and the other Roman languages grew out of Latin. He then analysed the modern language, as it existed in current popular literature before the time of Coraes, that is, from the time of Theodore Ptochoprodromus to nearly the end of the last century, and showed that the losses and curtailments which it had unquestionably suffered in the course of so many centuries, were not such as materially to impair the strength and beauty of the language, which in its present state was partly to be regarded as a living bridge betwixt the present and the past, and as an altogether unique phenomenon in the history of human speech.

scholarly journals On Memory of Plates and Dishes

Fluminensia ◽  
2020 ◽  
Vol 32 (2) ◽  
pp. 117-136
Author(s):  
Krystyna Pieniążek-Marković
Keyword(s):  
Cultural Memory ◽  
Regional Identity ◽  
Literary Fiction ◽  
Western World ◽  
Individual Identity ◽  
The Past ◽  
Literary Sources ◽  
The Social ◽  
History Of ◽  
The Common

The aim of the article is to discuss how elements of food narratives meals and kitchen tools used for cooking are used in order to consolidate and shape the Croatian cultural memory, especially in the context of its Mediterranean heritage.For this reason, the texts by Veljko Barbieri, collected in the four volumes under the common and significant title Kuharski kanconijer. Gurmanska sjećanja Mediterana, are analysed. His circum-culinary narratives are a combination of encyclopaedic knowledge, references to historical and literary sources, personal memories and literary fiction. They can be easily inscribed in the Croatian (collective and individual) identity discourse since they are able to strengthen the collective (either national and supranational, or geo-regional) identity, and to construct the cultural memory. They also show Croatia's affiliation to the Western world along with its cultural-civilization rooting in antiquity, the Mediterranean region and Christianity, thus forming a part of the founding memory that develops a narrative about the very beginnings of Croatian presence on this land. The gastronomic narratives serve to create the cultural memory and this version of history which is to stabilize the social identity described by Pierre Nora and Andreas Huyssen. Through his stories, Barbieri shapes memory based on the representation of the past. In the analysed narratives, the memory carriers are dishes and plates which find reference to the oldest history of Croatia rendered by myths and other narratives. Associated with dishes, the pots enable the narrator to recall the past and the identity coded in individual dishes. They also participate in the processes of repeating, storage and remembering which generate a symbiotic relationship between man and thing. The memory carriers that is, food and plates depicted in Barbieri's culinary narratives do not convey their content in a neutral way, but construct their marked images.

scholarly journals The fiction of History: recalling the past and imagining the future with Caesar at Troy.

2010 ◽  
Vol 23 (1/2) ◽  
pp. 143-160
Author(s):  
Richard Alston
Keyword(s):  
Cultural Memory ◽  
Political Power ◽  
Human Mind ◽  
Historical Narrative ◽  
Cultural Trauma ◽  
Historical Account ◽  
Historical Discourse ◽  
The Past ◽  
The Future ◽  
A Site

This essay considers the nature of historical discourse through a consideration of the historical narrative of Lucan’s Pharsalia. The focus is on the manner in which Lucan depicts history as capable of being fictionalised, especially through the operation of political power. The discourses of history make a historical account, but those discourses are not, in Lucan's view, true, but are fictionalised. The key study comes from Caesar at Troy, when Lucan explores the idea of a site (and history) which cannot be understood, but which nevertheless can be employed in a representation of the past. yet, Lucan also alludes to a ‘true history’, which is unrepresentable in his account of Pharsalus, and beyond the scope of the human mind. Lucan’s true history can be read against Benjamin and Tacitus. Lucan offers a framework of history that has the potential to be post-Roman (in that it envisages a world in which there is no Rome), and one in which escapes the frames of cultural memory, both in its fictionalisation and in the dependence of Roman imperial memory on cultural trauma.

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