This chapter addresses the interpretations of the emerging social question in the field of post-revolutionary French liberalism. It focuses on the cholera outbreak of 1832 to describe how it fostered unprecedented and dramatic representations of urban pauperism chiefly marked by feelings of panic and distress with respect to the new "dangerous classes" brought into being by the Industrial Revolution. By analysing the pandemic crisis, the chapter shows that these subjects were initially perceived not merely as a different social class, but also – and especially – as a different "race," according to a conception exemplified by the metaphor of "new barbarians" invading the manufacturing cities. Hence, the chapter retraces a transformation whereby these initial representations of the subaltern classes based on fear and exclusion gradually gave way to the rise of social research on the subaltern classes aimed at elaborating new welfare policies as risk reduction strategies. These initiatives of social investigation are described as marking the origins of the methods and epistemology of modern social sciences, which are the focus of the following chapter.
Emerging from the superpowers' covert attempts to counter their political and ideological influence without direct military confrontations, the Cold War was also enacted in the cultural sphere of many third world countries, especially Africa, which became a 'site of encounter' for the staging of US-Soviet theatre of influence. In West Africa, Ghana and Nigeria were strategically adopted as epicentres of western cultural philanthropy through the funding of cultural institutions and networks of selected artists as well as the organisation, sponsorship and hosting of collaborative artistical events covering drama, music, dance, and the visual arts. This chapter shall discuss selected American-sponsored cultural events and programmes in these territories as a sub-set of the cultural Cold War dynamics directed towards the 'winning of hearts and minds' as well as the institutionalisation of liberal values within these emerging societies. Events such as the 1961 Lagos Festival (sponsored by the American Society of African Culture) and the 1967 Ghana Festival of Arts (sponsored by the United States Information Service) shall be examined to ascertain, from a comparative perspective, the underlying structures of collaboration, organisation and reception of these events within the Cold War context.
Few articles in the humanities have had the impact of Lisa Jardine and Anthony Grafton's seminal 'Studied for Action' (1990), a study of the reading practices of Elizabethan polymath and prolific annotator Gabriel Harvey. Their excavation of the setting, methods and ambitions of Harvey's encounters with his books ignited the History of Reading, an interdisciplinary field which quickly became one of the most exciting corners of the scholarly cosmos. A generation inspired by the model of Harvey fanned out across the world's libraries and archives, seeking to reveal the many creative, unexpected and curious ways that individuals throughout history responded to texts, and how these interpretations in turn illuminate past worlds.
Three decades on, Harvey's example and Jardine's work remain central to cutting-edge scholarship in the History of Reading. By uniting 'Studied for Action' with published and unpublished studies on Harvey by Jardine, Grafton and the scholars they have influenced, this collection provides a unique lens on the place of marginalia in textual, intellectual and cultural history. The chapters capture subsequent work on Harvey and map the fields opened by Jardine and Grafton's original article, collectively offering a posthumous tribute to Lisa Jardine and an authoritative overview of the History of Reading.
Whether visual perceptual consciousness is gradable or dichotomous has been the subject of fierce debate in recent years. If perceptual consciousness is gradable, perceivers may have less than full access to—and thus be less than fully phenomenally aware of—perceptual information that is represented in working memory. This raises the question of in virtue of what a subject can be less than fully perceptually conscious. In this chapter, we provide an answer to this question, according to which inexact categorizations of visual input may result in a representation of the visual information in working memory that is less than fully available to the perceiver and which the perceiver therefore is less than fully phenomenally aware of. The latter proposal is a natural extension of a theory of perception we have proposed in previous works, viz., the template tuning theory (TTT). We argue that TTT is compatible with both gradable and dichotomous conceptions of perceptual consciousness but that the available empirical evidence favours a gradable conception of perceptual consciousness.
During the nineteenth century and into the early twentieth century, more Europeans visited the Middle East than ever before, as tourists, archaeologists, pilgrims, settler-colonists and soldiers. These visitors engaged with the Arabic language to differing degrees. While some were serious scholars of Classical Arabic, in the Orientalist mould, many did not learn the language at all. Between these two extremes lies a neglected group of language learners who wanted to learn enough everyday colloquial Arabic to get by. The needs of these learners were met by popular language books, which boasted that they could provide an easy route to fluency in a difficult language.
Arabic Dialogues explores the motivations of Arabic learners and effectiveness of instructional materials, principally in Egypt and Palestine, by analysing a corpus of Arabic phrasebooks published in nine languages (English, French, German, Spanish, Portuguese, Italian, Yiddish, Hebrew, Russian) and in the territory of twenty-five modern countries. Beginning with Napoleon's Expédition d'Égypte (1798–1801), it moves through the periods of mass tourism and European colonialism in the Middle East, concluding with the Second World War. The book also considers how Arab intellectuals understood the project of teaching Arabic to foreigners, the remarkable history of Arabic-learning among Yiddish- and Hebrew-speaking immigrants in Palestine, and the networks of language learners, teachers and plagiarists who produced these phrasebooks.
How Divine Images Became Art tells the story of the parallel 'discovery' of Russian medieval art and of the Italian 'primitives' at the beginning of the twentieth century. While these two developments are well-known, they are usually studied in isolation. Tarasov's study has the great merit of showing the connection between the art world in Russia and the West, and its impact in the cultural history of the continent in the pre-war period.
Drawing on a profound familiarity with Russian sources, some of which are little known to Western scholars, and on equally expert knowledge of Western material and scholarship, Oleg Tarasov presents a fresh perspective on early twentieth-century Russian and Western art. The author demonstrates that during the Belle Époque, the interest in medieval Russian icons and Italian 'primitives' lead to the recognition of both as distinctive art forms conveying a powerful spiritual message. Formalist art theory and its influence on art collecting played a major role in this recognition of aesthetic and moral value of 'primitive' paintings, and was instrumental in reshaping the perception of divine images as artworks.
Ultimately, this monograph represents a significant contribution to our understanding of early twentieth-century art; it will be of interest to art scholars, students and anyone interested in the spiritual and aesthetic revival of religious paintings in the Belle Époque.
Despite the non-governmental status of the UNESCO-affiliated International Theatre Institute (ITI), its organisational structures enabled its member states to use it as an instrument of cultural representation for national and Cold War purposes. In the late 1970s and early 1980s, the East German national centre of the ITI hosted several seminars and colloquia for theatre artists from the Global South. These events focussed heavily on playwright Bertolt Brecht as a figurehead of East German theatre since his plays and theories were of great interest to the international theatre community. This chapter examines how the GDR centre used the international community of the ITI to find and contact artistically and politically suitable participants from emerging countries and how they conceptualized and adjusted their presentation of Brecht's work and methods not only according to their participants' needs, but also to build a specific national brand of soft power designed to appeal to artists and cultural policy makers in the non-aligned countries: the GDR and the East German artists as partners and supporters of nation building.
Families Mental Health and Challenges in the 21st Century contains the papers presented at the 1st International Conference of Applied Psychology on Humanity 2022 (ICAPH 2022, Malang, Indonesia, 27 August 2022). The contributions focus on the challenges in micro-family environments that are faced with rapid developments of technology and information in the 21st century. The issues addressed in the book include: Family Strengthening Principles and Practices Children and Woman Protection Family Resilience Crisis and Challenge
Families Mental Health and Challenges in the 21st Century is of interest to professionals and academics involved or interested in psychology, the field of mental health and related disciplines.
In sub-Saharan Africa a number of national theatres were established from the 1950s onwards. Their construction involved British colonial administration, American philanthropy and Chinese development aid. While each history is particular, they share certain common experiences that can be read as an allegory of postcolonial history. This narrative is bracketed by the seemingly contradictory terms modular modernity and cultural heritage: modernity with its promise of the new, cultural heritage with its ideology of preservation. While apparently oppositional terms, they are in fact two points on a continuum of Western and Asian influence on the African continent. There is a direct through-line connecting modular modernity with cultural heritage discourse of the post-Cold War period. This chapter's main example is the National Theatre in Uganda which can read as a test case of shifting discourses and agendas in the context of the Cultural Cold War and its long-term implications.
The introduction outlines the main trajectories of the Cultural Cold War, starting with the revelations in the late 1960s that the CIA was using various front organizations to fund culture abroad as a way to combat Soviet influence. It adds to the familiar narrative by showing that the Cultural Cold War needs to be re-evaluated on the one hand by focusing on US philanthropy in the postcolonial world. On the other hand there is a need to examine Soviet and East European initiatives in the newly independent nations from the perspective of cultural diplomacy and soft power. The activities on both sides of the Iron Curtain testify to the recognition on the part of US policy makers that the emerging postcolonial world needed substantial investment in cultural infrastructure if it was to resist the blandishments of socialism, to which many of its leaders were ideologically attracted, if not aligned. The final section outlines the four sections that structure the volume: Networks and Institutions; Cultural Diplomacy; Artists and Agency; and Cultures of Things.
This book focuses on the variety of strategies developed by women athletes in the Pacific Islands to claim contested sporting spaces – in particular, rugby union, soccer, beach volleyball, recreational sports and exercise – as a prism to explore grassroots women's engagement with heavily entrenched postcolonial (hetero)patriarchy. Based on primary research conducted in Fiji, Samoa, Solomon Islands, and Vanuatu, the book investigates contested sporting spaces as sites of infrapolitics intersected primarily by gender and also by other markers of inequality, including ethnicity, sexuality, class and geopolitics. Contrary to historical and contemporary representations of Pacific Island women as victims of gender injustice, it explores how these athletes and those who support them actively carve out space for their transformative agency. Pacific IslandWomen and Contested Sporting Spaces: Staking Their Claim focuses on a region underexamined by sport or gender studies researchers and will be of key interest to scholars and students in Gender Studies, Sport Studies, Sociology and Pacific Studies as well as sport practitioners and policymakers.
Despite a variety of theoretical and practical undertakings, there is no coherent understanding of the concept of scale in digital history and humanities, and its potential is largely unexplored. A clearer picture of the whole spectrum is needed, from large to small, distant to close, global to local, general to specific, macro to micro, and the in-between levels. The book addresses these issues and sketches out the territory of Zoomland, at scale. Four regions and sixteen chapters are conceptually and symbolically depicted through three perspectives: bird's eye, overhead, and ground view. The variable-scale representation allows for exploratory paths covering areas such as: theoretical and applicative reflections on scale combining a digital dimension with research in history, media studies, cultural heritage, literature, text analysis, and map modelling; creative use of scale in new digital forms of analysis, data organisation, interfaces, and argumentative or artistic expressions. Zoomland provides a systematic discussion on the epistemological dimensions, hermeneutic methods, empirical tools, and aesthetic logic pertaining to scale and its innovative possibilities residing in humanities-based approaches and digital technologies. Enter the Zoomland game here or watch the teaser! ; Despite a variety of theoretical and practical undertakings, there is no coherent understanding of the concept of scale in digital history and humanities, and its potential is largely unexplored. A clearer picture of the whole spectrum is needed, from large to small, distant to close, global to local, general to specific, macro to micro, and the in-between levels. The book addresses these issues and sketches out the territory of Zoomland, at scale. Four regions and sixteen chapters are conceptually and symbolically depicted through three perspectives: bird's eye, overhead, and ground view. The variable-scale representation allows for exploratory paths covering areas such as: theoretical and applicative reflections on scale combining a digital dimension with research in history, media studies, cultural heritage, literature, text analysis, and map modelling; creative use of scale in new digital forms of analysis, data organisation, interfaces, and argumentative or artistic expressions. Zoomland provides a systematic discussion on the epistemological dimensions, hermeneutic methods, empirical tools, and aesthetic logic pertaining to scale and its innovative possibilities residing in humanities-based approaches and digital technologies. Enter the Zoomland game here or watch the teaser!
This book aims to rewrite the narrative of women and power in medieval society. Based on a rich corpus of sources – systematically collected for the first time – it reveals female monasteries as central and economically able agents in feudal society. With a chronological focus on the late Middle Ages, this book focuses on four powerful convents located in modern-day France, Germany, and Switzerland. Three of these institutions were aristocratic convents founded in the early Middle Ages. They were endowed with far-ranging feudal prerogatives that were largely, but not exclusively, derived from landed possessions. The fourth convent originated in the thirteenth century and disposed of a primarily monetary economy. Observed from a longue-durée perspective, Monastic Women and Secular Economy in Later Medieval Europe reveals strategies of adaptations that allowed these different institutions to weather the significant economic changes of the late Middle Ages. Within the context of medieval feudal society, these abbesses and prioresses were authoritative figures. They ruled over territories, dispensed justice, appointed priests, and even sent soldiers to war. Late medieval convents acted as urban landlords and gave credits – they were thus major economic players in the rising cities. These observations of this monograph will force medievalists to reconsider the traditional image of both the "male" feudal Middle Ages and medieval monetary economy.
In der Arbeitswelt der DDR bestanden markante soziale Ungleichheiten, die sich mit der Vereinigung verschärften. Die Gesellschaft der DDR war stark über die Arbeit im Betrieb organisiert, die wesentlich zur »Vergesellschaftung« beitrug. Da Betriebe das soziale und materielle Leben organisierten, prägten sie auch soziale Ungleichheit, obwohl sich die DDR als egalitäre Gesellschaft verstand. Jessica Lindner-Elsner untersucht am Beispiel des VEB Automobilwerk Eisenach, das den Wartburg baute, wie sich Arbeitsbedingungen und soziale Ungleichheit wandelten. Dies zeigt sie für die Kernbelegschaften und vulnerable Arbeiter:innen wie etwa Strafgefangene, Menschen mit Behinderungen und Ausländer. Sie waren gegenüber Mitarbeiter:innen in Normalarbeitsverhältnissen benachteiligt. Deutlich wird zudem die Ungleichbehandlungen von Frauen, die aufgrund fortbestehender Rollenverteilungen weniger flexibel auf Arbeitsanforderungen regieren konnten. Die Autorin fragt, wie solche Benachteiligungen im planwirtschaftlichen System entstanden. Ebenso zeigt sie, wie sich die Muster sozialer Ungleichheit im Übergang zur Marktwirtschaft veränderten, als das Automobilwerk durch die Treuhandanstalt abgewickelt wurde und mit Opel in Eisenach ein neuer Hersteller übernahm.
