Remembering summer in the city: Production and consumption of yanqishui in twentieth-century Shanghai

By investigating the history of how yanqishui, originally a drink for factory heatstroke prevention, changed from welfare in the Mao years to a popular drink in post-socialist Shanghai, this article attempts to show the historical continuity of consumption in modern China and that the understanding of consumption patterns must be rooted in a local context. Using archives, local newspapers, memoirs, and interviews, the article explores the symbolic meanings of yanqishui before China’s 1978 reforms, which have left a deep impression on the Chinese masses and continuously impacted consumption thereafter. It argues that the popularity of yanqishui in contemporary Shanghai, to an extent, represents some kind of nostalgic consumption. However, instead of a nationwide sentiment, the nostalgia is sometimes local. As the biggest commercial center and then an industrial core in China’s modern history, Shanghai left people special memories on yanqishui that have greatly shaped the local consumer culture.

Professionalization of social work in Germany: a reflection on the history of professional space development

The professionalisation of social work is examined using Germany as an example. The main aspects of the process are explored: professional qualifications, content aspects of professional work, resources allocated and their control, as well as empirical and theoretical research in social work. The evolution of approaches to aid motivation from ecclesiastical and Christian traditions of love for one's neighbour to institutionalised aid within the functioning of welfare states is analysed. The dynamics of approaches to the definition of neediness in order to prevent the development of social parasitism is studied, the historical continuity of forms of work with socially deprived groups is shown. The professionalization of social work is considered in socio-historical context: its connection with protest movements of neo-Marxist persuasion in 1960s and changes in the system of academic training of social work professionals with the introduction of Bologna system is analyzed. The material in this article is the result of many years of research, including participant observation by the authors. This text is the latest and the last article by Professor Horst Bossong, one of Germany's leading specialists in social work, social policy and administration. The article summarizes the author's long-standing interest in the history and philosophy of social work, which reflects major milestones in the spiritual evolution and economic development of contemporary European societies.

Konstitusi Peralihan Kekuasaan Kesultanan Kutai Kartanegara Ing Martapura

ideology of state sovereignty, which was adhered to by the royal leaders and their people. The infrastructure of civilization is still sustainable, despite the turmoil of the succession of leadership, indicating the presence of very strong social capital, namely justice and peace. Starting from the archipelago ideology is Kutai Martapura Kingdom, switching to a Malay ideology is Kutai Kartanegara Kingdom, and a modern ideology is Kutai Kartanegara Ing Martapura Sultanate. The nationality theory ('ashabiyah), the urban theory ('urban), and the development theory ('umran) by Ibn Khaldun (1332 - 1406 AD), were able to reveal the dynamics of the historical continuity of the Republic of Indonesia, which wanted to move the State Capital in some areas Kutai Kartanegara Regency, East Kalimantan Province. Taking turns, coming and going, until the population settles in an area in the territory of the country, shows the presence of a very great human culture

Expressions of the Interior: Physiognomic Knowledge in Lavater, Goethe, and Alexander von Humboldt

This article examines the role of Johann Caspar Lavater’s (1741-1801) physiognomic ideas in shaping the relationship between the natural sciences and aesthetics at the turn of the nineteenth century. Using the examples of Johann Wolfgang von Goethe’s early morphological writing and Alexander von Humboldt’s Ideen zu einer Physiognomik der Gewächse (1806), it makes the case for the importance of Lavater’s »scientific« physiognomy for understanding the discursive- epistemological shift from the sensual empiricism of the eighteenth century to the perception of the invisible around 1800. Far from a direct line of intellectual- historical continuity from Lavater to Goethe and Humboldt, this article contends that the diffuse uptake of physiognomic concepts by exponents of Romantic science gave them a new meaning in relation to the study of ›life‹ and its hidden dynamics as well as with respect to the roles of art and aesthetics in comprehending nature’s ›interior‹.

PHENOMENON OF AGRARIAN DEVELOPMENT OF THE USSR: SPECIFICITY OF SCIENTIFIC DISCOURSE

The purpose of the article is to analyze conceptual approaches in understanding the process of implementing agrarian policy in the USSR in the period 19221991. The research strategies that have developed in modern Russian historiography in recent decades and reveal the content of radical transformation of the agrarian system in the USSR are examined in this article. An assessment of comparability (the possibility of conducting a comparative analysis) of various methodological approaches and criteria for constructing concepts is described. The theses about the preservation or break of the historical continuity in the choice of the civilizational perspective, as well as on the methods and means of achieving the goal were recognized as key. It is concluded that it is necessary to move to the level of interdisciplinary and methodological synthesis as a necessary condition for explaining the civilizational mission of the Soviet project and national specifics in the context of world history. The high cognitive value of the concept of institutional cycles of civilizational development in relation to the agrarian history of Russia and the USSR is noted.

The image of the Russian peasantry in A. Platonov’s the stories and plays during the Great Patriotic War

Fiction embodies the diverse cultural and historical memory of society and offers its own answers about the impact of war on a person, the long-term humanitarian consequences of the war. In his military stories and plays A. Platonov presented a wide panorama of images of the fighting people, among which the image of peasantry occupies a central place. Memory is considered as the leading concept of the writers creativity. Features of perception of war, life and death, good and evil by ordinary soldiers are revealed. A. Platonovs military stories are very significant for the cultural memory of Russian society. Focusing on the peasant roots of the fighting people, the writer warned of the danger of forgetting this. Platonovs constant interest in the memorial aspects of culture is realized in his military prose largely from the point of view of the world picture of Russian peasants. Village and its inhabitants, faith and family, land, bread, labor-symbols of the Motherland in Platonov, the embodiment of historical continuity. These aspects were reflected later in popular memories of the war, in the peasant perception of the war as sacrificial heroism.

Militarism and the Bedouin: Intersections of colonialism, gender, and race in the Arab Gulf

This article investigates the development of militarism in the Arab Gulf using the militarized representation of the Bedouin and their poetic tradition as a site for its analysis. The article traces the ways in which Bedouin ‘martial masculinities’ and Bedouin culture have been appropriated and transformed by British colonialism and postcolonial nationalisms to produce unusual patterns of militarism within the Gulf. It addresses a gap in international relations and security studies literature, in which militarism is examined through state-centric and methodologically nationalist framings that largely overlook transnational and colonial histories. The article argues that contemporary displays of militarism by Qatar and the United Arab Emirates should be read in relation to how colonialism engendered militarism across the Gulf region through the paradoxical representation of the Bedouin as a ‘martial race’ whose martial-ness was also seen as a security ‘threat’ for the colonial/postcolonial state. Militarized responses and rationalities were normalized within Gulf society through the ‘Bedouin warrior’ stereotype, which served as a timeless and fixed construct, connecting the Gulf’s disjointed past to its present-day context. Significantly, the ‘Bedouin warrior’ stereotype helps foster the belief that stability and historical continuity underpin state-modernization processes in Qatar and the United Arab Emirates. The article’s intervention seeks to disrupt this continuity by looking at how militarism and its martial constructs created ruptures in state trajectories, using the example of the 1996 coup attempt, citizen revocations, and the depoliticization of the poetic act as evidence for the claim that militarism engenders particular insecurities for Bedouin populations in the Arab Gulf.

The Integration of Chinese Opera Traditions into New Musical Compositions

<p>Almost fifty years ago Chinese composer Chou Wen-chung proposed a musical “re-merger” of East and West. For many Chinese composers of today a sense of historical continuity and an awareness of inherited musical traditions are important contributor to cultural identity, and a basis on which to build the future. The generation that emerged after the Cultural Revolution found new freedoms, and has become, at the beginning of the twentyfirst century, a significant presence on the international musical stage, as the paradigm shifts away from being European-centered, to a culture belonging to the “global village”. As with many other Chinese composers of my generation, the creation of new compositions is both a personal expression and a manifestation of cultural roots. Techniques of “integration” and “translation” of musical elements derived from traditional Chinese music and music-theatre are a part of my musical practice. The use of traditional Chinese instruments, often in combination with Western instruments, is a no longer a novelty. The written exegesis examines some of the characteristic elements of xìqǜ (the generic term for all provincial Chinese operas), including dǎ (percussion - an enlarged interpretation of dǎ, as found in chuānjù gāoqiāng Sichuan gāoqiān opera), bǎnqiāng (The musical style that characterizes Chinese xìqǚ), and niànbái (recitation and dialogue), as well as the kuàibǎnshū (storytelling with percussion) of qǚyì (a term to use to include all folk genres), and shāngē (mountain song). The techniques employed in integrating and translating these elements into original compositions are then analyzed. In the second volume of the thesis the scores of five compositions are presented, four of the five works are set in Chinese, exploring the dramatic aspects of language, and may be considered music-theatre, one being an opera scene intended for stage production.</p>

The Integration of Chinese Opera Traditions into New Musical Compositions

<p>Almost fifty years ago Chinese composer Chou Wen-chung proposed a musical “re-merger” of East and West. For many Chinese composers of today a sense of historical continuity and an awareness of inherited musical traditions are important contributor to cultural identity, and a basis on which to build the future. The generation that emerged after the Cultural Revolution found new freedoms, and has become, at the beginning of the twentyfirst century, a significant presence on the international musical stage, as the paradigm shifts away from being European-centered, to a culture belonging to the “global village”. As with many other Chinese composers of my generation, the creation of new compositions is both a personal expression and a manifestation of cultural roots. Techniques of “integration” and “translation” of musical elements derived from traditional Chinese music and music-theatre are a part of my musical practice. The use of traditional Chinese instruments, often in combination with Western instruments, is a no longer a novelty. The written exegesis examines some of the characteristic elements of xìqǜ (the generic term for all provincial Chinese operas), including dǎ (percussion - an enlarged interpretation of dǎ, as found in chuānjù gāoqiāng Sichuan gāoqiān opera), bǎnqiāng (The musical style that characterizes Chinese xìqǚ), and niànbái (recitation and dialogue), as well as the kuàibǎnshū (storytelling with percussion) of qǚyì (a term to use to include all folk genres), and shāngē (mountain song). The techniques employed in integrating and translating these elements into original compositions are then analyzed. In the second volume of the thesis the scores of five compositions are presented, four of the five works are set in Chinese, exploring the dramatic aspects of language, and may be considered music-theatre, one being an opera scene intended for stage production.</p>