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We would like to show the importance of Amelia Rosselli's formative and biographical moment that precedes her writing as well as the role of her first multilingual works that represent the prehistory of her Italian trilogy and of other works of her literary maturity. To do so, this thesis studies, in its first two sections, the exile of the Rosselli family, victim of political persecution throughout the fascist ventennio, as well as the poet's Franco-English-American proto-formation, amongst music, literature and politics. We will draw up a synthesis of the neorealist influence of the poet Rocco Scotellaro and of the ethnologist Ernesto de Martino. In the third section, this study will analyse, in an inter-textual perspective, the Primi Scritti (1952-1963) and will describe the poet's idiom, characterized by alternation and mixture, of Italian, French, and English, sometimes in the same text. In parallel we will show how Amelia Rosselli's multilingualism is not limited to a simple triglossie. Her multilingualism includes other languages: Latin, Italian and French from the Middle Ages, Elizabethan English, the spoken language of the illiterate from Basilicata, plus popular forms of speech from the south of Italy and from Rome. We uphold the importance of the anthropological and ethno-musicological studies carried out by Amelia Rosselli from 1952 to 1953. We will also show how the book of investigation Contadini del Sud by the Lucanian Rocco Scotellero was determining for her, as well as other texts, to be able to describe the treasures of her literary prehistory. Throughout the analysis of the texts of the origins we will uncover the birth of Amelia Rosselli's three poetics: that of space, of the eclipse of oneself, and that of the wound, together to be seen as interdependent, entwined, and that will further develop themselves during the 60's and the 70's. ; Nous voulons démontrer l'importance du moment biographique et formatif d'Amelia Rosselli qui précède son écriture et le rôle de ses premiers écrits ...

We would like to show the importance of Amelia Rosselli's formative and biographical moment that precedes her writing as well as the role of her first multilingual works that represent the prehistory of her Italian trilogy and of other works of her literary maturity. To do so, this thesis studies, in its first two sections, the exile of the Rosselli family, victim of political persecution throughout the fascist ventennio, as well as the poet's Franco-English-American proto-formation, amongst music, literature and politics. We will draw up a synthesis of the neorealist influence of the poet Rocco Scotellaro and of the ethnologist Ernesto de Martino. In the third section, this study will analyse, in an inter-textual perspective, the Primi Scritti (1952-1963) and will describe the poet's idiom, characterized by alternation and mixture, of Italian, French, and English, sometimes in the same text. In parallel we will show how Amelia Rosselli's multilingualism is not limited to a simple triglossie. Her multilingualism includes other languages: Latin, Italian and French from the Middle Ages, Elizabethan English, the spoken language of the illiterate from Basilicata, plus popular forms of speech from the south of Italy and from Rome. We uphold the importance of the anthropological and ethno-musicological studies carried out by Amelia Rosselli from 1952 to 1953. We will also show how the book of investigation Contadini del Sud by the Lucanian Rocco Scotellero was determining for her, as well as other texts, to be able to describe the treasures of her literary prehistory. Throughout the analysis of the texts of the origins we will uncover the birth of Amelia Rosselli's three poetics: that of space, of the eclipse of oneself, and that of the wound, together to be seen as interdependent, entwined, and that will further develop themselves during the 60's and the 70's. ; Nous voulons démontrer l'importance du moment biographique et formatif d'Amelia Rosselli qui précède son écriture et le rôle de ses premiers écrits ...

Am Ende des zweiten Weltkriegs hat die wiederhergestellte Tschechoslowakei die Mehrheit ihrer deutschen Bevölkerung vertrieben. Eine kleine Gemeinschaft von 200,000-300,000 blieben im Lande, die überwiegend aus Menschen bestand, die über benötigte industriellen Fachkenntnissen verfügten, in Mischehen lebten und/oder antifaschistische Aktivitäten nachweisen konnten. Aus verschiedenen Gründen, oft verbunden mit den politischen Realitäten des kalten Kriegs und der vorherrschenden antideutschen Diskriminierung in der Tschechoslowakei, verschwanden diese Menschen aus dem Blickfeld der Geschichte. In dieser Dissertation gehe ich zwei Fragen nach, die mit den kulturellen Bestrebungen dieser kleinen Gemeinschaft verbunden sind. Zuerst erforsche ich, ob es möglich ist, durch die Auffindung ihrer literarischen Bestrebungen, das Bemühen dieser Gemeinschaft ihre kulturelle Identität zu bewahren zu dokumentieren. Trotz der Einschränkung von Veröffentlichungsmöglichkeiten, wurde es klar, dass die Gemeinschaft literarisch tätig war. Ihre Texte habe ich in eine Bibliographie eingetragen, die Anhaltspunkte für weiterführende Forschung zu dieser Gemeinschaft bietet. Die zweite Frage nimmt die Erstellung einer Analyse des generellen kulturpolitischen Umfelds der Gemeinschaft auf sich. Durch die sorgfältige Lektüre der Gemeinschaftszeitung auf der Suche nach literarischen Beiträgen, war es möglich den Verlauf dieser Entwicklungen zu verfolgen, insbesondere die Auswirkung der Veränderungen, die von dem Slánský-Prozess, dem Prager Frühling und der Normalisierung ausgelöst wurden. Im letzten Kapitel dieser Dissertation biete ich eine Reflexion zur Frage inwiefern Bibliothekspraxis und –politik ermöglichen sowie verhindern die Erforschung von Randgemeinschaften und -themen. Ich behandle die Diskrepanz zwischen den Neutralitätsbehauptungen von Bibliotheken und der Auswirkung von menschlichen Entscheidungen und Neigungen auf Bestände und biete abschließend Vorschläge für Veränderungen. ; At the conclusion of the Second World War, a reconstituted Czechoslovakia expelled the majority of its German population. A small community of 200,000-300,000 remained behind, consisting mainly of individuals with specialized trades or skills, in mixed marriages, and/or with antifascist credentials. For various reasons, many related to Cold War political realities and endemic anti-German discrimination in Czechoslovakia, these individuals largely disappeared from view. In this dissertation I address two questions related to the cultural aspirations of this small community. First, I explore whether it is possible to document the community's attempts to maintain a German cultural identity by tracking their literary efforts. Despite restrictions on publication, it emerged that the community did actively produce literature. I recorded these texts in a bibliography that offers an entry point for further research on the German minority. The other question delves into constructing an analysis of the broader cultural politics of this community. By virtue of close engagement with the community's newspaper while searching for literature, it was possible to trace the arc of these developments, in particular the impact of changes set in motion by the Slánský trial, the Prague Spring, and the period known as Normalization. The dissertation concludes with a chapter where I pursue the question of the extent to which the practices and policies of research libraries enable and thwart research on marginal communities. I reflect on the gap between libraries' claim to be neutral organizations and the impact of human decisions and biases on collections and offer some concluding suggestions for changes that would help libraries address critical gaps in the human record.

We would like to show the importance of Amelia Rosselli's formative and biographical moment that precedes her writing as well as the role of her first multilingual works that represent the prehistory of her Italian trilogy and of other works of her literary maturity. To do so, this thesis studies, in its first two sections, the exile of the Rosselli family, victim of political persecution throughout the fascist ventennio, as well as the poet's Franco-English-American proto-formation, amongst music, literature and politics. We will draw up a synthesis of the neorealist influence of the poet Rocco Scotellaro and of the ethnologist Ernesto de Martino. In the third section, this study will analyse, in an inter-textual perspective, the Primi Scritti (1952-1963) and will describe the poet's idiom, characterized by alternation and mixture, of Italian, French, and English, sometimes in the same text. In parallel we will show how Amelia Rosselli's multilingualism is not limited to a simple triglossie. Her multilingualism includes other languages: Latin, Italian and French from the Middle Ages, Elizabethan English, the spoken language of the illiterate from Basilicata, plus popular forms of speech from the south of Italy and from Rome. We uphold the importance of the anthropological and ethno-musicological studies carried out by Amelia Rosselli from 1952 to 1953. We will also show how the book of investigation Contadini del Sud by the Lucanian Rocco Scotellero was determining for her, as well as other texts, to be able to describe the treasures of her literary prehistory. Throughout the analysis of the texts of the origins we will uncover the birth of Amelia Rosselli's three poetics: that of space, of the eclipse of oneself, and that of the wound, together to be seen as interdependent, entwined, and that will further develop themselves during the 60's and the 70's. ; Nous voulons démontrer l'importance du moment biographique et formatif d'Amelia Rosselli qui précède son écriture et le rôle de ses premiers écrits ...

En Las formas del olvido, el antropólogo francés Marc Augé reflexiona sobre el papel del olvido en la vivencia del presente y en la construcción de la memoria colectiva de las sociedades. El libro se propone como un tratado sobre la utilización del tiempo en cuatro capítulos. Los tres primeros ofrecen lecciones con las propuestas del autor y el último condensa gran parte de las ideas ya expuestas, a modo de conclusión.

The Roman fort-village complex at Vindolanda in northern England has yielded extensive well-preserved remains of domestic dogs, Canis familiaris. Herein, we pose the questions—did the Romans breed for distinctive dog morphotypes, or were dogs breeding panmictically; and if dogs were bred, was it for functionality. We address these questions utilizing remains that are correlated to age and context; morphometric analysis; dental wear stage; bone pathology; pawprints impressed in tiles, and contemporary written records and artwork. All age classes of dogs are represented. There is no evidence that dogs were butchered for food; survivorship curves suggest the typical U-shaped distribution found in populations at equilibrium. Small, medium-sized, and large dogs are represented with frequency changing over time and corresponding to change in the region of origin of the resident military cohort. Husbandry is confirmed on an individual with healed wounds and with the discovery of a beehive-shaped wattle doghouse. Dogs were used extensively in hunting wild game and bred for that activity. By integrating many diverse kinds of data we are able reconstruct biotypes of Roman dogs, greatly facilitating the interpretation of their functionality. ; El fuerte-poblado romano de Vindolanda en el norte de Inglaterra fue ocupado desde el 50 al 415 A.D. y ha proporcionado una importante colección de restos bien conservados de perro, Canis familiaris. En este trabajo se contesta a las preguntas acerca de si los romanos criaron perros con el propósito de obtener morfotipos específicos o si aquellos perros se cruzaron libremente y de modo aleatorio (panmixis). También, si los perros fueron criados, si tal cría respondía a razones funcionales. Utilizando restos caninos bien contextualizados, respondemos estas preguntas incorporando análisis morfométricos, estadíos de desgaste dentario, patologías óseas, huellas impresas en cerámica (tejas) y registros documentales e iconográficos. Todas las cohortes de perro se encontraban aquí documentadas y no existen evidencias de que los perros fuesen consumidos. Las curvas de supervivencia son las clásicas con forma de U constatadas en poblaciones en equilibrio. Se constatan asímismo perros pequeños, medianos y grandes cuyas frecuencias variaron según el lugar de origen de las guarniciones que se sucedieron en el asentamiento. El cuidado de los canes lo confirma una perrera con forma de colmena y un individuo con heridas cicatrizadas. Los perros fueron usados para la caza y criados con tal fin. Integrando todas las fuentes de datos se han podido reconstruir los biotipos caninos de los romanos, infiriendo con ello su funcionalidad.

This article discusses a key methodological difficulty in conducting qualitative research close to home: the issue of overthinking. Whereas Malinkowski's concern regarding imponderabilia, i.e., the risk of not thinking about the subtle phenomena of everyday life, has long haunted ethnographers and qualitative researchers, not least those working "at home", we highlight an issue of overponderabilia, i.e., the risk of overthinking seemingly familiar statements and practices of the people studied. How do we, as qualitative researchers, study very well-known phenomena such as science, bureaucracy, management etc. without reading our own ideas and understandings into the deceptively familiar concepts and accounts of our research subjects? Pondering this issue is inevitably a central concern for the increasing number of qualitative researchers who study people who apparently talk, think and work in a way which is similar to their own. While previous answers or solutions to this issue first and foremost emphasize various means of reflexivity, this article presents the method of "mutual participatory observation" as a particular way of overcoming overthinking: a method which in situ invites our research subjects into our thinking. Thus, in the pursuit of an ever enhanced understanding, qualitative research becomes not so much a reflexive deciphering as an active debate; that is, a mutual induction of the differences between the qualitative researcher and the research subjects. (author's abstract)

International audience ; La plupart des discours qui encadrent l'adoption internationale se caractérisent par un relatif consensus politique et moral. À l'inverse d'autres échanges mondialisés, l'adoption internationale est entourée d'un discours positif qui tient en grande partie à « l'intérêt supérieur de l'enfant », à la « générosité » des adoptants et aux valeurs altruistes qu'on leur attribue. Si les parents ont la possibilité d'adopter, le processus dans lequel ils s'engagent est supposé accorder à son tour une « chance » pour les enfants de grandir dans une famille occidentale – doublement valorisée pour son adéquation à une norme familiale dominante et son appartenance sociale, raciale et spatiale aux espaces centraux. Dès lors, la dimension marchande de ces circulations d'enfants n'est jamais exprimée ni pensée comme telle. Et si elle demeure présente, elle n'est traitée – en tout cas au sein des pays du Nord (i.e « adoptants ») – que comme un « excès » et une déviance mercantile et immorale contre lesquels il faudrait lutter. Le droit international notamment, et la multiplication (récente) des conventions multi- et bilatérales, entend réglementer ces circulations pour garantir la non-marchandisation des enfants. L'argent est supposément proscrit et les enfants ne sont évidemment pas « achetables », au risque de relever de la législation internationale contre le trafic d'êtres humains. Pourtant, l'organisation du marché international de l'adoption fixe pourtant une valeur – si ce n'est un prix – aux différents enfants proposés, et fonctionne selon des logiques économiques qu'il est possible d'interroger.

International audience ; La plupart des discours qui encadrent l'adoption internationale se caractérisent par un relatif consensus politique et moral. À l'inverse d'autres échanges mondialisés, l'adoption internationale est entourée d'un discours positif qui tient en grande partie à « l'intérêt supérieur de l'enfant », à la « générosité » des adoptants et aux valeurs altruistes qu'on leur attribue. Si les parents ont la possibilité d'adopter, le processus dans lequel ils s'engagent est supposé accorder à son tour une « chance » pour les enfants de grandir dans une famille occidentale – doublement valorisée pour son adéquation à une norme familiale dominante et son appartenance sociale, raciale et spatiale aux espaces centraux. Dès lors, la dimension marchande de ces circulations d'enfants n'est jamais exprimée ni pensée comme telle. Et si elle demeure présente, elle n'est traitée – en tout cas au sein des pays du Nord (i.e « adoptants ») – que comme un « excès » et une déviance mercantile et immorale contre lesquels il faudrait lutter. Le droit international notamment, et la multiplication (récente) des conventions multi- et bilatérales, entend réglementer ces circulations pour garantir la non-marchandisation des enfants. L'argent est supposément proscrit et les enfants ne sont évidemment pas « achetables », au risque de relever de la législation internationale contre le trafic d'êtres humains. Pourtant, l'organisation du marché international de l'adoption fixe pourtant une valeur – si ce n'est un prix – aux différents enfants proposés, et fonctionne selon des logiques économiques qu'il est possible d'interroger.

This dissertation investigates the processes and effects involved in the production of styles in contemporary Stockholm. Particular focus is given to materialization processes regarding gender and sexuality. It is an ethnographic study, organized around three different research methods: participant observation, semi-structured interviews and organic wardrobe studies, carried out during the duration of two years and mainly delimited to Stockholm, often focusing on but not limited to the queer-orientated downtown club scene. The study is centered on ten participants, but is also concerned with the events, situations and relations the participants become part of during this time. In this way, the analysis gives equal attention to the specificity of garments and the spaces and places of social interaction. Drawing on a combination of Judith Butler's theory of performativity and Bruno Latour's actor-network theory, it analyses how styles are produced and maintained through interactions. The concept of style operates as a tool of analysis, approaching the subject matter from three different perspectives: verbal communication and politics of naming, the wheres and whens of sartorial practices, and lastly bodily matters as a point of intersection, where styles are constituted as bodily materializations through gestures, movements and orientation in space. Furthermore, this thesis engages in an on-going discussion within fashion studies on how the articulation of matters regarding sexuality, gender and identity projects can be theorized through the concept of style. In this way, it also challenges and furthers the definition of this concept by proving its productive qualities through ethnographic fieldwork.

The collective and the common are categories that describe and affect art practice, the new forms of creation, and the culture of curatorship. This conversation approaches them from a shared experience, the setting in motion of a Factory of Authorless Cinema in Intermediæ, a public institution of art and culture, located in Madrid's Matadero. From an auto-ethnographic and performative standpoint, we analyse the opportunities this opens up for the production of a new cultural institution. This situated understanding of curatorship and mediation allows us to discuss the role of the political epistemology of the commons in the current redefinition of the public sphere and to propose a decolonial affecting of this notion from the standpoint of multiplicity. Public, commons, rotation and temporality become the keywords that guide this text. In the construction of the problem we see how art and culture can become a space to play out new forms of governance where, on the basis of poetic models of thought, new futures for this public space we share can be created. The question is posed by a situated curatorship and mediation, in the context of the public institution, for the composition of a temporary, variable community, in constant movement and transformation, from a decolonial vantage point, which we call jaguar. ; Lo colectivo y lo común son categorías que describen y afectan la práctica artística, las nuevas formas de creación y la cultura de la curaduría. Nuestro trabajo se acerca a ellas desde una experiencia compartida, la puesta en marcha de una Fábrica de Cine sin Autor en Intermediæ, una institución pública de arte y cultura, situada en Matadero Madrid. Desde un planteamiento autoetnográfico y performativo analizamos las oportunidades que ofrece para la producción de una nueva institucionalidad pública. Una visión situada de la curadoría y la mediación, nos permite discutir el papel que la epistemología política de lo común juega en la redefinición actual de la esfera pública y proponer la afectación decolonial de esta concepción desde la noción de multiplicidad. Público, común, rotación y temporalidad se convierten en las palabras clave que guían este texto. En la construcción del problema vemos cómo el arte y la cultura pueden convertirse en un espacio de ensayo de nuevas formas de gobernanza donde crear, desde modelos poéticos de pensamiento, nuevos futuros para ese espacio público que compartimos. Se abre la pregunta por una curadoría y mediación situada, en el contexto de lo público-institucional, para la composición de una comunidad temporal, variable, en movimiento y transformación, desde un punto de vista decolonial que denominamos jaguar.

The collective and the common are categories that describe and affect art practice, the new forms of creation, and the culture of curatorship. This conversation approaches them from a shared experience, the setting in motion of a Factory of Authorless Cinema in Intermediæ, a public institution of art and culture, located in Madrid's Matadero. From an auto-ethnographic and performative standpoint, we analyse the opportunities this opens up for the production of a new cultural institution. This situated understanding of curatorship and mediation allows us to discuss the role of the political epistemology of the commons in the current redefinition of the public sphere and to propose a decolonial affecting of this notion from the standpoint of multiplicity. Public, commons, rotation and temporality become the keywords that guide this text. In the construction of the problem we see how art and culture can become a space to play out new forms of governance where, on the basis of poetic models of thought, new futures for this public space we share can be created. The question is posed by a situated curatorship and mediation, in the context of the public institution, for the composition of a temporary, variable community, in constant movement and transformation, from a decolonial vantage point, which we call jaguar. ; Lo colectivo y lo común son categorías que describen y afectan la práctica artística, las nuevas formas de creación y la cultura de la curaduría. Nuestro trabajo se acerca a ellas desde una experiencia compartida, la puesta en marcha de una Fábrica de Cine sin Autor en Intermediæ, una institución pública de arte y cultura, situada en Matadero Madrid. Desde un planteamiento autoetnográfico y performativo analizamos las oportunidades que ofrece para la producción de una nueva institucionalidad pública. Una visión situada de la curadoría y la mediación, nos permite discutir el papel que la epistemología política de lo común juega en la redefinición actual de la esfera pública y proponer la afectación decolonial de esta concepción desde la noción de multiplicidad. Público, común, rotación y temporalidad se convierten en las palabras clave que guían este texto. En la construcción del problema vemos cómo el arte y la cultura pueden convertirse en un espacio de ensayo de nuevas formas de gobernanza donde crear, desde modelos poéticos de pensamiento, nuevos futuros para ese espacio público que compartimos. Se abre la pregunta por una curadoría y mediación situada, en el contexto de lo público-institucional, para la composición de una comunidad temporal, variable, en movimiento y transformación, desde un punto de vista decolonial que denominamos jaguar.

This thesis examines the role of authority in the production of archaeological knowledge. It examines how fluid ideas and observations formed in the field become authoritative, factual, solid archaeological products, like scientific texts, reconstructions or museum displays. It asks, what makes a person, a thing or an account of history something that is authoritative? What makes someone an authority on the past? What is archaeological authority? This thesis deconstructs and exposes authority in archaeological practice. It targets how practitioners of archaeology actively enact, construct and implement authority in the process of producing knowledge. Formal representations of the past rely heavily on an underlying notion of the 'authoritative account'. The entire process of reconstructing the past in archaeology is dependent on individuals and institutions existing as authorities, who actively or passively imply that artefacts, sites and final interpretations are 'authentic' or have 'fidelity' to the past. This study examines how authority and acts of legitimation are employed and distributed through the medium of science, and how they need to be actively performed in order to acquire and maintain status. This thesis not only argues that authority is embedded in every stage of the archaeological process, but importantly, it identifies how this authority manifests through the medium of scientific acts. This thesis is structured around two comparative case studies: one case of professional archaeology and one case of alternative archaeology. Both are archaeological sites that produce their own 'authoritative' accounts of the past through practices, publications and presentations. The first case is the professional archaeological project of Çatalhöyük in the Republic of Turkey, under the direction of Ian Hodder at Stanford University. This case offers insights about how the processes of inscription, translation and blackboxing establish and maintain authority in archaeological practice. It also addresses how physical and intellectual space, as well as issues of access in localised knowledge-producing social arenas, affect archaeological authority. The second case is the controversial pseudoarchaeological project in Visoko, Bosnia, commonly referred to as the Bosnian Pyramids. This project, under the direction of amateur archaeologist Semir Osmanagić, has successfully created an account of prehistory that has been received by the general Bosnian public as authoritative, despite objections by the professional archaeological community. This case demonstrates how authority can be constructed, mimicked and performed by drawing on academic arenas of scientific practice and by eager public participation. Specifically, this case study highlights the importance of socio-politics, authoritative institutions and performative behaviour in the construction of archaeological authority.

International audience ; Like the knowledge that historians have of all peoples on the fringes (Beduin, Turk, Berber) of the Islamic world, what is known about the Kurds during the medieval period suffers from a monolithic vision that sees far-off places as being "all the same": tribalism, nomadism, castes. The economic and social organization of the land of the Kurds from the 9th to the 15th century is described. A paradigm of the "in-between" prevails geographically, socially, economically and politically. It has given rise to a still existing frontier culture specific to the Kurdish people. By asserting their sovereignty and differences, the tribes and emirs during the Middle Ages helped create a distinct Kurdish space. ; A l'instar de la connaissance que les historiens ont de tous les peuples des confins de l'Islam (Arabes bédouins, Turcs, Berbères), la connaissance que l'on a des Kurdes médiévaux pâtit d'une vision monolithique où, dans un monde éloigné à la fois dans le temps et dans l'espace, tout se vaut : tribalisme, nomadisme, castes. Cet article esquisse l'organisation économique et sociale du territoire des Kurdes à cette époque (IXe-XVe siècle). On verra que, dans tous les cas, le paradigme de « l'entre-deux » s'impose. Cette situation intermédiaire du point de vue géographique, socioéconomique et politique a suscité l'émergence d'une culture frontalière propre aux Kurdes, et ce jusqu'à aujourd'hui. En affirmant leur souveraineté et leur différence, les tribus et les émirs du Moyen Âge ont contribué à créer un espace kurde distinct.