scholarly journals Preserving the Past & Engaging the Future

2021 ◽  
Keyword(s):  
North America ◽  
Academic Libraries ◽  
Digital Technologies ◽  
The Third ◽  
The Past ◽  
Special Collections ◽  
The Future ◽  
History Of ◽  
Rich History ◽  
Library Collections

Special collections of religious and theological materials have been part of the landscape of academic libraries in North America from their beginnings. This collection of ten articles treats several aspects of this rich history in three sections: the first deals with the history of specific collections at four libraries; the second treats current attempts to use special collections in teaching and the outreach mission of the library, including the development and use of digital technologies; and the third explores topics related to building library collections for the future, noting both pitfalls to be avoided and intriguing opportunities.

“Solidarity is Something you can Hold in your Hand”

2022 ◽  
pp. 1-25
Author(s):  
Torkil Lauesen
Keyword(s):  
Third World ◽  
Detailed Account ◽  
Popular Front ◽  
Global Context ◽  
The Third ◽  
The Past ◽  
The Future ◽  
History Of ◽  
The Third World ◽  
Support Work

Abstract This article tells the story of an organization based in Copenhagen, Denmark, which supported the Liberation struggle in the Third World from 1969 until April 1989. It focus on the support to the Popular Front for the Liberation of Palestine (pflp). The story is told in a historical and global context. The text explains the strategy and tactic behind the support-work. It explains how the different forms of solidarity work developed over two decades (for a more detailed account of the history of the group, see Kuhn, 2014). Finally, the article offers an evaluation of the past and a perspective on the future struggle for a socialist Palestine.

Renaming urban toponomy as a mean of redefining local identity: the case of street decommunization in Poland

2018 ◽  
Vol 1 (1) ◽  
pp. 20-31
Author(s):  
Bartłomiej Różycki
Keyword(s):  
World War Ii ◽  
Symbolic Capital ◽  
Local Identity ◽  
World War ◽  
Vast Number ◽  
The Third ◽  
The Past ◽  
Extraordinary Experiences ◽  
History Of ◽  
Rich History

AbstractDuring and after democratic transition in Poland, the decommunization of urban toponomy became an important aspect of symbolic changes. Although the general course of street renaming was similar in the whole country, the pace of these changes as well as scope of tolerance towards the symbols of the past varied. In this article, the cases of three major Polish cities are analyzed. In Kraków, its long and rich history constituted a background of local identity and certain level of autonomy in defining the symbolic landscape. Warsaw on the other hand was a city whose extraordinary experiences related to the World War II resulted in commemoration of a whole new set of myths and figures through the street names. What is more, its status of the country’s capital caused its identity to influence the canon of Polish history as a whole. This affected the third analyzed case, Wrocław, whose long history of links with German culture resulted in very little symbolic capital which would be compatible with this new patriotic canon. As a result, Wrocław accepted in its urban toponomy a vast number of symbols unrelated to its own memory, in the same time suppressing symbols linked to its local identity. Accepting external heritage turned out to be a strategy of avoiding conflict with the dominant narrative.1

The 1990s: North American archaeology with a human face?

Antiquity ◽  
1990 ◽  
Vol 64 (245) ◽  
pp. 778-787 ◽  
Author(s):  
Bruce G. Trigger
Keyword(s):  
North America ◽  
North American ◽  
History Of Archaeology ◽  
Human Face ◽  
Standard Account ◽  
American Archaeology ◽  
The Past ◽  
North American Archaeology ◽  
The Future ◽  
History Of

The English reviewer for Nature (Renfrew 1990) declared that Bruce Trigger's new history of archaeology will become the standard account of our subject's history, and the French reviewer for ANTIQUITY also has a warm view (this issue, page 960). Having looked to the past, what does Trigger see for the future of archaeology in North America, as the reaction comes to the view of archaeology as, primarily, science that has dominated these last decades?

Post-Soviet economy development: From the past to the future

2017 ◽  
pp. 5-21 ◽  
Author(s):  
E. Yasin
Keyword(s):  
Present Situation ◽  
Soviet Economy ◽  
Market Reforms ◽  
Democratic Development ◽  
The Past ◽  
Current Period ◽  
The Future ◽  
History Of ◽  
Working Out ◽  
A Current

The article is devoted to major events in the history of the post-Soviet economy, their influence on forming and development of modern Russia. The author considers stages of restructuring, market reforms, transformational crisis, and recovery growth (1999-2011), as well as a current period which started in2011 and is experiencing serious problems. The present situation is analyzed, four possible scenarios are put forward for Russia: “inertia”, “mobilization”, “decisive leap”, “gradual democratic development”. More than 30 experts were questioned in the process of working out the scenarios.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Acta Fluens – Generatives Handeln und Improvisation im Jazz

2014 ◽  
Vol 59 (1) ◽  
pp. 49-60
Author(s):  
Davide Sparti
Keyword(s):  
Walter Benjamin ◽  
History Of Philosophy ◽  
Human Existence ◽  
The Unconscious ◽  
The Past ◽  
The Future ◽  
History Of

Obwohl jede menschliche Handlung mit einem gewissen Grad an Improvisation erfolgt, gibt es kulturelle Praktiken, bei denen Improvisation eine überwiegende Rolle spielt. Um das Risiko zu vermeiden, einen zu breiten Begriff von Improvisation zu übernehmen, konzentriere ich mich im vorliegenden Beitrag auf den Jazz. Meine zentrale Frage lautet, wie Improvisation verstanden werden muss. Mein Vorgehen ist folgendes: Ich beginne mit einem Vergleich von Improvisation und Komposition, damit die Spezifizität der Improvisation erklärt werden kann. Danach wende ich mich dem Thema der Originalität als Merkmal der Improvisation zu. Zum Schluss führe ich den Begriff affordance ein, um die kollektive und zirkuläre Logik eines Solos zu analysieren. Paradigmatisch wird der Jazzmusiker mit dem Engel der Geschichte verglichen, der nur auf das Vergangene blickt, während er der Zukunft den Rücken zugekehrt hat, und lediglich ihr zugetrieben wird. Weder kann der Improvisierende das Material der Vergangenheit vernachlässigen noch seine genuine Tätigkeit, das Improvisieren in der Gegenwart und für die Zukunft, aufgeben: Er visiert die Zukunft trotz ihrer Unvorhersehbarkeit über die Vermittlung der Vergangenheit an.<br><br>While improvised behavior is so much a part of human existence as to be one of its fundamental realities, in order to avoid the risk of defining the act of improvising too broadly, my focus here will be upon one of the activities most explicitly centered around improvisation – that is, upon jazz. My contribution, as Wittgenstein would say, has a »grammatical« design to it: it proposes to clarify the significance of the term »improvisation.« The task of clarifying the cases in which one may legitimately speak of improvisation consists first of all in reflecting upon the conditions that make the practice possible. This does not consist of calling forth mysterious, esoteric processes that take place in the unconscious, or in the minds of musicians, but rather in paying attention to the criteria that are satisfied when one ascribes to an act the concept of improvisation. In the second part of my contribution, I reflect upon the logic that governs the construction of an improvised performance. As I argue, in playing upon that which has already emerged in the music, in discovering the future as they go on (as a consequence of what they do), jazz players call to mind the angel in the famous painting by Klee that Walter Benjamin analyzed in his Theses on the History of Philosophy: while pulled towards the future, its eyes are turned back towards the past.

scholarly journals The molecular footprints of COVID-19

2020 ◽  
Vol 45 (3) ◽  
pp. 241-248
Author(s):  
Engin Yilmaz ◽  
Yakut Akyön ◽  
Muhittin Serdar
Keyword(s):  
Reaction Time ◽  
Changing Environment ◽  
The Third ◽  
The Past ◽  
The People ◽  
The World ◽  
The Future ◽  
Host Virus Interactions ◽  
Virus Interactions

AbstractCOVID-19 is the third spread of animal coronavirus over the past two decades, resulting in a major epidemic in humans after SARS and MERS. COVID-19 is responsible of the biggest biological earthquake in the world. In the global fight against COVID-19 some serious mistakes have been done like, the countries’ misguided attempts to protect their economies, lack of international co-operation. These mistakes that the people had done in previous deadly outbreaks. The result has been a greater economic devastation and the collapse of national and international trust for all. In this constantly changing environment, if we have a better understanding of the host-virus interactions than we can be more prepared to the future deadly outbreaks. When encountered with a disease which the causative is unknown, the reaction time and the precautions that should be taken matters a great deal. In this review we aimed to reveal the molecular footprints of COVID-19 scientifically and to get an understanding of the pandemia. This review might be a highlight to the possible outbreaks.

Sign in / Sign up

Export Citation Format

Share Document