Shifting boundaries

Author(s):  
Ursula Huws
Keyword(s):  
2021 ◽  
Author(s):  
Melis Hafez

Neither laziness nor its condemnation are new inventions, however, perceiving laziness as a social condition that afflicts a 'nation' is. In the early modern era, Ottoman political treatises did not regard the people as the source of the state's problems. Yet in the nineteenth century, as the imperial ideology of Ottomanism and modern discourses of citizenship spread, so did the understanding of laziness as a social disease that the 'Ottoman nation' needed to eradicate. Asking what we can learn about Ottoman history over the long nineteenth-century by looking closely into the contested and shifting boundaries of the laziness - productivity binary, Melis Hafez explores how 'laziness' can be used to understand emerging civic culture and its exclusionary practices in the Ottoman Empire. A polyphonic involvement of moralists, intellectuals, polemicists, novelists, bureaucrats, and, to an extent, the public reveals the complexities and ambiguities of this multifaceted cultural transformation. Using a wide variety of sources, this book explores the sustained anxiety about productivity that generated numerous reforms as well as new understandings of morality, subjectivity, citizenship, and nationhood among the Ottomans.


2009 ◽  
Vol 25 (3) ◽  
pp. 233-240
Author(s):  
Marie Kruger

The Sogo bò, primarily an animal masquerade, can be distinguished from Western theatre through its use of a fluid space with shifting boundaries between spectator and performer. An oral tradition dictates the characterization, scenario, and content. The resemblance to ritual can be found in structural elements such as its repetitive nature and the use of non-realistic performance objects and motions. As in ritual, there is a clear sense of order, an evocative presentational style, and a strong collective dimension. The functional resemblance lies in the complex metaphorical expression through which relationships and values are symbolized, objectified, and embodied in a highly artistic way. Marie Kruger is an associate professor and the Chair of the Department of Drama at the University of Stellenbosch, South Africa, where puppetry is offered as a performance and research option. Her research is focused on masquerades in Africa and the various contemporary applications of puppetry in sub-Saharan Africa.


Author(s):  
Ngozi Sandra Ikenyei

The onset of oil exploration in Warri and its environs accentuated the proliferation of ethnic conflict, militant and activist youth. Conflicts in Warri over the past years, are products of shifting boundaries and agitations for benefits accruing to oil bearing communities. These crises were occasioned by perception of neglect, deprivation, abuse and abandonment. Whenever there is crisis, heinous crimes against humanity were committed against inhabitants. Between 2005–2013, over 35 oil related conflicts have been recorded in Warri. This construal resource (oil) related conflicts are often accompanied with the perpetration of crimes that stamped political and economic activities. This impact on rural livelihoods and it reflects on how oil operations are prioritized over community interest. This leaves bitterness, resentments and grievances amongst the suffering citizens. While many researches focus on environmental impact of oil exploration and neglects from oil companies and government, few studies dwelt on the dynamics and modalities of conflicts resolution. The study revealed that killings, rape and sexual violence, kidnapping, stealing, torture/beating, systemic persecution of agitators and burning down of houses were the most prominent crimes committed against citizens whenever there is crisis.


2021 ◽  
Vol 311 ◽  
pp. 151-182
Author(s):  
KATAYAMA Mabi

The Japan House (Korean: waegwan; Japanese: wakan) in the port city of Pusan, was a Japanese outpost during the Chosŏn dynasty. In the period 1639 to 1718, the Sō clan of Tsushima, commissioned made-to-order ceramics here, reflecting Japanese requirements, and a long-standing Japanese enthusiasm for kōrai chawan (“Korean tea bowls”), as demanded by the tea authorities in Japan. The focus of this paper is a group of tea bowls with decoration of standing cranes, the most representative type of made-to-order tea bowls produced at the Japan House kilns. Historical records and recent excavations of kiln sites have revealed that the type of tea bowl with standing crane design enjoyed popularity and continued to be produced until the closure of the Japan House kilns. A bowl of the deep, cylindrical shape adheres closely to early Koryŏ prototypes, while its notched foot resembles those of soft porcelain bowls made for ritual use. The subject of its design motif can be traced back to the ubiquitous cranes of Koryŏ inlaid celadon. The ethereal crane, traditionally associated with longevity, was popular in East Asian pictorial culture. The standing crane design on this type of tea bowl displays a combination of influences from the crane painting by the Southern Song painter Muqi (act. ca. 1240-75) and its reinterpretation by the Kano painters. This paper seeks to define the characteristics of the Japan House kiln products by examining its best-known type of tea bowl with decoration of standing cranes. It elucidates how the tea bowl with standing crane design is clearly not an imitation of early Koryŏ celadon but shows a range of decorative styles that reflect the tastes of the Edo-period daimyo tea world. While adapted to the tastes of Japanese consumers, the tea bowl with standing crane design produced at the Japan House kilns display influences from regional kilns in Chosŏn Korea. In this light, the type of tea bowl with decoration of standing cranes manifests a hybrid state of shifting boundaries and demarcations where Japanese and Korean influences coexisted and encountered with difference.


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