Aesthetic uses of the past and limits in the reconstruction of historical spaces inside a videogame

2020 ◽  
Vol 9 (1) ◽  
pp. 004
Author(s):  
Alberto Venegas Ramos

Along the last years we have assisted to the release of a great number of videogames set in the past as, for example, Assassin’s Creed: Origins (Ubisoft, 2017). This game offered the player the possibility to tour the city of Alexandria during the first century before Christ. My intention in this text is to develop the use of the past in the reconstruction of urban digital spaces through three video-game sagas, BioShock (Irrational Games y 2K Marin, 2007 – 2013), Uncharted (Naughty Dog, 2006 – 2017) and Assassin’s Creed (Ubisoft, 2007 – 2017). Each one of them will serve us to develop and examine the aesthetic uses of the past in the reconstruction of urban digital spaces through the proposed concepts: design, consumption and production. Irrational Games’ saga will help us to understand the first concept, the Naughty Dog one the second and the Ubisoft one the third. After these three sections we will elaborate a final section where we will build the video-game as a mass culture medium with other media of same scope and shared features.

2020 ◽  
Author(s):  
William Abbiss

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.


2020 ◽  
Author(s):  
William Abbiss

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.


BJHS Themes ◽  
2020 ◽  
Vol 5 ◽  
pp. 15-37
Author(s):  
Karine Chemla

AbstractThis essay approaches the knowledge required to write up and use instructions with a specific method. It relies on specific procedures taken from the Chinese canon The Nine Chapters on Mathematical Procedures (九章算術), which, in the author's view, was completed in the first century CE. These procedures enabled readers to do things. To analyse the type of knowledge required to produce these texts of procedures and to use them, the essay puts into play two layers of commentary. The ancient layer was written between the third and the seventh centuries, whereas the later layer was composed between the eleventh and the thirteenth centuries. The author shows that these two layers of commentary read the same text of procedure differently, using different approaches and understanding it differently. The author also shows how the two layers of commentary use mathematical problems to approach a procedure, even though problems are used differently in the two contexts. This illustrates how, in different contexts, actors interpreted the same instructional text differently, both with respect to what the text meant and with respect to how one could make sense of it.


2021 ◽  
pp. 1-31
Author(s):  
MIMI HADDON

Abstract This article uses Joan Baez's impersonations of Bob Dylan from the mid-1960s to the beginning of the twenty-first century as performances where multiple fields of complementary discourse converge. The article is organized in three parts. The first part addresses the musical details of Baez's acts of mimicry and their uncanny ability to summon Dylan's predecessors. The second considers mimicry in the context of identity, specifically race and asymmetrical power relations in the history of American popular music. The third and final section analyses her imitations in the context of gender and reproductive labour, focusing on the way various media have shaped her persona and her relationship to Dylan. The article engages critical theoretical work informed by psychoanalysis, post-colonial theory, and Marxist feminism.


2019 ◽  
Vol 11 (3) ◽  
pp. 274-295 ◽  
Author(s):  
Joanna Paul

Abstract Cityscapes have always been an important part of films set in antiquity, but little attention has yet been paid to the way in which digital cinema uses the ancient city to offer different kinds of access to the past. This article explores how twenty-first century cinema sees the city and apprehends history in new ways in films including Pompeii (2014), Agora (2009), and Gladiator (2000). It focuses on how digital cinema affords the opportunity to ‘see’ the past from above, a quintessentially modern perspective which prompts a range of important questions about the viewer’s relationship to history. The aerial view of the cinematic city encourages reflection on our familiarity with an ancient city, by utilizing the imagery and techniques of digital mapping and virtual reality reconstructions; and it explores our ability to gain mastery over the past, privileging godlike omniscience over the immersiveness that usually characterizes contemporary film. Finally, adopting the perspective of the drone, it suggests a more disturbing, dehumanized version of the past – and future. The discourse around these cinematic cities prompts important and timely consideration of whether digital technology necessarily improves our access to the past, or rather compromises it.


Author(s):  
Hannah Lauren Murray

This chapter examines the state of the field of Charles Brockden Brown studies since 2000. Taking a thematic approach, I discuss four dominant strands in twenty-first-century criticism: geographies, medical humanities, economies, and aesthetics. These sections cover the scholarly debate over a transnational, imperial, or postcolonial Brown; consider the new ways in which early national medicine intersects with his fiction; chart the rise of market and class-based criticism; and discuss a return to formal concerns in light of the aesthetic or postcritique turn. The final section of this chapter looks ahead to emergent trends in future Brown scholarship in response to the previous decade’s work.


2009 ◽  
Vol 47 (1) ◽  
pp. 35-43 ◽  
Author(s):  
Ramon Llopis-Goig

Racism and Xenophobia in Spanish Football: Facts, Reactions and PoliciesContrary to what is sometimes supposed, racism is not a phenomenon of the past. In fact, it is one of the major challenges of the present and future in Europe and Spain. Besides providing an incomparable sense of belonging, football stadiums are also an excellent platform to express racist and xenophobic attitudes and behaviours. In Spain, for years many players have suffered abuse and insults, although it is black and ethnic minority players who receive the most harassment. Thus, the problem of racism has increased recently in Spanish football, as shown by the emission of monkey noises toward black players and the use of racist slogans and symbols in the stadiums.This paper analyses the forms of racism and xenophobia in Spanish football, as well as the actions promoted and carried out by various institutions and agents to prevent and reduce these types of behaviour. The aim of this paper is to make a contribution based on figures and reflections on the types of racism and xenophobia in the world of football in Spain. The article is divided into three major parts. The first reviews some concepts of the scientific study of racism and xenophobia, placing them in the context of Spanish football. The second contains an overview of racism in European football and describes the situation in Spain, providing some empirical data about its incidence in recent years. The third and final section presents a classification and analysis of different antiracist reactions, actions and initiatives carried out recently in Spain with the aim of combating racism in Spanish football.


1982 ◽  
Vol 9 (1) ◽  
pp. 65-70 ◽  
Author(s):  
E. Barton Worthington

The historical perspective is becoming ever more important in scientific research and development—especially in regions of rapid political and social change, such as former colonial empires, where the past is readily forgotten. Therefore this essay attempts to reconstruct the evolution of Ecology as the scientific basis for environmental conservation and human progress, as seen through the eyes of a biologist who has exercised that science during a number of tasks in various parts of the world over most of the twentieth century.From its beginnings in evolutionary thinking during the nineteenth century, ecology emerged from natural history at the beginning of the twentieth. At first the running was made by botanists; but this was soon followed by zoologists, who dealt with more mobile communities. The first quarter-century was mainly exploratory; the second was mainly descriptive (although biological exploration was still dominant in the tropics). The third quarter saw ecology developing into an experimental science, and, as the environmental revolution got into its stride, ecology became organized both nationally and internationally.Although the term is now often misused and sometimes misunderstood by laymen, the last quarter-century is seeing the wide application of ecology in environmental and human affairs, and this gives some assurance that the twenty-first century will not become one of chaos. The Author expresses the hope that experienced practising ecologists will in future give higher priority to applying what they already know than to learning more and more about less and less.


Author(s):  
Daniele Castrizio

The paper examines the coins found inside the Antikythera wreck. The wreck of Antikythera was discovered by chance by some sponge fishermen in October 1900, in the northern part of the island of Antikythera. The archaeological excavation of the wreck has allowed the recovery of many finds in marble and bronze, with acquisitions of human skeletons related to the crew of the sunken ship, in addition to the famous “Antikythera mechanism”. Various proposals have been made for the chronology of the shipwreck, as well as the port of departure of the ship, which have been based on literary sources or on the chronology of ceramic finds. As far as coins are concerned, it should be remembered that thirty-six silver coins and some forty bronze coins were recovered in 1976, all corroded and covered by encrustations. The separate study of the two classes of materials, those Aegean and those Sicilian allows to deepen the history of the ship shipwrecked to Antikythera. The treasury of silver coinage is composed of thirty-six silver cistophoric tetradrachms, 32 of which are attributable to the mint of Pergamon and 4 to that of Ephesus. From the chronological point of view, the coins minted in Pergamon have been attributed by scholars to the years from 104/98 B.C. to 76/67 B.C., the date that marks the end of the coinage until 59 B.C. The coins of Ephesus are easier to date because they report the year of issue, even if, in the specimens found, the only legible refers to the year 53, corresponding to our 77/76 B.C., if it is assumed as the beginning of the era of Ephesus its elevation to the capital of the province of Asia in 129 B.C., or 82/81 B.C., if we consider 134/133 B.C., the year of the creation of the Provincia Asiana. As for the three legible bronzes, we note that there are a specimen of Cnidus and two of Ephesus. The coin of the city of Caria was dated by scholars in the second half of the third century B.C. The two bronzes of Ephesus are dated almost unanimously around the middle of the first century B.C., although this fundamental data was never considered for the dating of the shipwreck. The remaining three legible bronzes from Asian mints, two from the Katane mint and one from the Panormos mint, belong to a completely different geographical context, such as Sicily, with its own circulation of coins. The two coins of Katane show a typology with a right-facing head of Dionysus with ivy crown, while on the reverse we find the figures of the Pii Fratres of Katane, Amphinomos and Anapias, with their parents on their shoulders. The specimen of Panormos has on the front the graduated head of Zeus turned to the left, and on the verse the standing figure of a warrior with whole panoply, in the act of offering a libation, with on the left the monogram of the name of the mint. As regards the series of Katane, usually dated to the second century B.C., it should be noted, as, moreover, had already noticed Michael Crawford, that there is an extraordinary similarity between the reverse of these bronzes and that of the issuance of silver denarii in the name of Sextus Pompey, that have on the front the head of the general, facing right, and towards the two brothers from Katane on the sides of a figure of Neptune with an aplustre in his right hand, and the foot resting on the bow of the ship, dated around 40 B.C., during the course of the Bellum siculum. We wonder how it is possible to justify the presence in a wreck of the half of the first century B.C. of two specimens of a very rare series of one hundred and fifty years before, but well known to the engravers of the coins of Sextus Pompey. The only possible answer is that Katane coins have been minted more recently than scholars have established. For the coin series of Panormos, then, it must be kept in mind that there are three different variants of the same type of reverse, for which it is not possible to indicate a relative chronology. In one coin issue, the legend of the ethnic is written in Greek characters all around the warrior; in another coin we have a monogram that can be easily dissolved as an abbreviation of the name of the city of Panormos; in the third, in addition to the same monogram, we find the legend CATO, written in Latin characters. In our opinion, this legend must necessarily refer to the presence in Sicily of Marcus Porcius Cato of Utica, with the charge of propraetor in the year 49 B.C. Drawing the necessary consequences from the in-depth analysis, the data of the Sicilian coins seem to attest to their production towards the middle of the first century B.C., in line with what is obtained from the ceramic material found inside the shipwrecked ship, and from the dating of the coins of Ephesus. The study of numismatic materials and a proposal of more precise dating allows to offer a new chronological data for the sinking of the ship. The presence of rare bronze coins of Sicilian mints suggests that the ship came from a port on the island, most likely from that of Katane.


Author(s):  
James Andrew John Piggott

This article presents two related ideas. Firstly, video-games should be considered a historically relevant medium through their capacity to generate narratives and lessons of the past. Secondly, the issue of censorship – the doctoring of the past when creating said narratives – is as equally detrimental to history as shown within video-games as it is in alternative formats. The historical significance of censorship within video-games, however, has been largely ignored, mainly due to the perceived ‘trivial’ or ‘ludified’ nature of the medium. As a result, the historiographical capacity of video-games continues to be trivialised and undermined. These arguments are covered over three sections. The first unpacks several criticisms of video-games, in turn showing the medium’s historical capacity. The second uses the example of Nazism to describe and explain the presence of censorship within video-games and the rationale that informs it. The final section links these two ideas, discussing the historical impact of censorship within video-games and why the ‘ludic frame’ of video-games seemingly shadows their equally significant ‘historical frame’. 


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