Valores culturales e identidad nacional en Largo ha sido este día de José Manuel Crespo

Cultural Values and National Identity in Largo ha sido este día by José Manuel Crespo. The main topic of this paper is the exposition of some of the cultural values and certain characteristics of national identity shown in the autobiography Largo ha sido este día [It’s been a long day] (1987), by the Colombian writer José Manuel Crespo. The research is based on the analysis and interpretation of the various elements that compose the syntactic, semantic and pragmatic levels of the work and, especially, on the role played by individual and collective memory for the organization of the narrative discourse. The features exposed are related to Ciénaga (the author’s birthplace), in which the importance of the social group that surrounds the writer’s environment and the influence of oral testimony are discovered, as well as certain words related to fauna and flora. Within the autobiographical space, customs and traditions of the period in question (1940s and 1950s) and the acquisition of knowledge through the discourse exposed by all the characters referred to, are linked. The author manifests through this work not only personal aspects of his childhood, but also the transcendence of the culture of Ciénaga when he evokes features that allow knowing facts that affect national memory and identity

Makers and Keepers: Two Lives, through Photographs

Looking through the pages of family photo albums or the folders of photographic archival fonds can only be described as holding history in your hands. Whether it is in the form of colour or black and white prints, negatives, or slides, these photo-objects carry histories of lives lived that go beyond their frames. Focusing on a set of oral history interviews conducted with two Black women living in Montréal — a community photographer or image “maker” who was most active during the 1970s–1990s and a photo-collector or “keeper” who is currently active in preserving and sharing photographs for her church and wider communities within the city — this article engages with how the interweaving of photography and oral history gives us a rich way to experience the histories of Black social life in Montréal. Photo-led oral history interviews are sites for fruitful and in-depth conversation, providing interviewee and interviewer alike with the possibility of coming into encounter with everyday or minor histories that are too often overlooked. Moreover, this article is driven by a set entwined questions: How does oral testimony open up additional avenues for sharing the events of the past that have been captured through photographic images? What affective and relational qualities do photographs possess and how, in turn, do these qualities transform the space of the oral history interview? And, most urgently, why was photography used by Black Montréalers as a tool and a practice to remember and insist upon their collective presence?

(Re)Presentation in Verbatim Theatre

<p>Using a range of interpretive methodologies and based on both the practice of others and the author’s production, direction and evaluation of a series of shows this thesis explores a number of aspects of verbatim theatre presentation and re-presentation (restaging). The form of verbatim theatre discussed is primarily that deriving from personal interview material and the predominant thesis focus is one of Australasian context and practice. The thesis is in two separate sectons with strongly related aims; the first section aiming to clarify and support the second. The first section answers questions about verbatim theatre evolution, processes and practices through both reviews of literature and interviews with prominent practitioners. It reveals vitality and diversity in VT practice, breadth and depth of scholarship in both Australia and New Zealand. It illuminates the processes and practices of creating and performing a verbatim play to support those who may consider doing so. The second section describes and evaluates the performance of re-presentations in August 2015 of the VT play We’ll Meet Again. This play had been developed in 1994 from interviews with war veterans to create a theatrical event honouring a generation whose common experience was involvement in the Second World War. The actors in the re-presentation were all students at Toi Whakaari:New Zealand Drama School and the show was performed in nine venues over six days. Audiences were predominantly elderly although those at community centre venues were of a range of ages. Tools used to evaluate the performances included audience survey forms with room for written comments, observations of audience responses and verbal feedback and interviews with actors. The remarkably positive survey responses and powerful written and oral testimony support the argument that a re-presentation of verbatim theatre has the potential to reinstate and broaden further the impact, appeal, value and aims of the original work. This argument is further supported with the formation of guidelines to present research findings as well as supporting, in a practical and immediate way, those embarking on re-presentation. A selection of images and performance video, illustrating the context and findings of the research are included in the thesis document.</p>

(Re)Presentation in Verbatim Theatre

<p>Using a range of interpretive methodologies and based on both the practice of others and the author’s production, direction and evaluation of a series of shows this thesis explores a number of aspects of verbatim theatre presentation and re-presentation (restaging). The form of verbatim theatre discussed is primarily that deriving from personal interview material and the predominant thesis focus is one of Australasian context and practice. The thesis is in two separate sectons with strongly related aims; the first section aiming to clarify and support the second. The first section answers questions about verbatim theatre evolution, processes and practices through both reviews of literature and interviews with prominent practitioners. It reveals vitality and diversity in VT practice, breadth and depth of scholarship in both Australia and New Zealand. It illuminates the processes and practices of creating and performing a verbatim play to support those who may consider doing so. The second section describes and evaluates the performance of re-presentations in August 2015 of the VT play We’ll Meet Again. This play had been developed in 1994 from interviews with war veterans to create a theatrical event honouring a generation whose common experience was involvement in the Second World War. The actors in the re-presentation were all students at Toi Whakaari:New Zealand Drama School and the show was performed in nine venues over six days. Audiences were predominantly elderly although those at community centre venues were of a range of ages. Tools used to evaluate the performances included audience survey forms with room for written comments, observations of audience responses and verbal feedback and interviews with actors. The remarkably positive survey responses and powerful written and oral testimony support the argument that a re-presentation of verbatim theatre has the potential to reinstate and broaden further the impact, appeal, value and aims of the original work. This argument is further supported with the formation of guidelines to present research findings as well as supporting, in a practical and immediate way, those embarking on re-presentation. A selection of images and performance video, illustrating the context and findings of the research are included in the thesis document.</p>

Bakhtin and Cohen: The First Stages in Building the Philosophical System

Abstact. Although it is generally known that M.M. Bakhtin viewed himself as primarily a philosopher and not a philologist, the overwhelming majority of studies of his work belong to literary criticism. The purpose of this article, relying on the oral testimony of Bakhtin himself and his philosophical texts written in the Nevel-Vitebsk period (1919-1924), is to restore the origin of his philosophical sources and the content of his philosophical ideas of this period. The main idea is the concept of moral philosophy as a philosophical system, whose main subject is participative thinking and an answerable act as an event of being. One of the most important sources of these ideas was probably the philosophy of Neo-Kantianism represented by the teachings of H. Cohen. The article provides four examples of Bakhtin's continuity in relation to the Marburg philosopher - the idea of an answerable act concerning another person as the source of a human's self-consciousness and personal integrity, the idea of a correlative relationship between a person and his neighbor as an expression of a caring participatory being, the idea of distinguishing a moral attitude from an ethical-legal one and the idea of the philosophical system, whose subject is the process of interpersonal relations. In this case, the system consists not only in the integrity of the object but also in its openness. Revealing the continuity of Bakhtin's philosophical ideas regarding Cohen leads to a better understanding of these ideas and Bakhtin's originality of their development. It is also fruitful to compare the perception of Cohen's ideas by Bakhtin and their reception by another philosopher of dialogue, F. Rosenzweig.

Explosive mixtures: ‘Redbones’ and the racialisation of a white working class

In the 1950s a wave of labour unrest shook a small town in southwestern Louisiana, leading to the racialisation of workers who had previously been considered white, as ‘mixed race’ or, in local terms, ‘Redbone’. This article considers why certain individuals were marked as mixed race in relation to strike violence and their opposition to capitalist expansion. Utilising a variety of methodological approaches, including archival research, historiography and oral testimony, this article seeks to examine how an instance of labour unrest was reinterpreted by local law enforcement, an interstate capitalist class and the national press as calling into question the racial integrity of a group of workers who had been formerly marked as white. This explosive and largely unstudied strike provides an opportunity to better understand how racialisation operates as a technology of control, even over individuals who appear phenotypically white. The strike at Elizabeth allows a glimpse at the tactics of representatives of white supremacy when white workers do not fully embrace the ‘wages of whiteness’.

Written Proof Between Capitulations and Ottoman Kadi Courts in the Early Modern Period

The introduction of legal reforms in the sixteenth century that gave the Hanafi school its central place in the Ottoman legal system coincided with the arrival of new trade partners from the West, first France and later England and the Dutch Republic. The Ottoman authorities’ own emphasis on the primacy of written proof and the marginalization of oral testimony was also reflected in the privileges granted to these new arrivals from the West. Although many European ambassadors and consuls distrusted “Turkish justice”, the Ottoman legal system’s stability and predictability contributed considerably to creating favourable conditions of trade.