Violence in modern Africa is still often explained in the West as a result of persistent primitivism and tribalism in African cultures. This culturalist view of African conflict appears in some scholarly work as well as in much of popular culture, including the media. What such analysis misses is that European colonialism in Africa fostered non-modern, ethnically based societies through indirect rule, and post-colonial governments have largely relied on versions of the colonial system to maintain their power. Moreover, interventions by the West in post-colonial African affairs have only infrequently helped to reduce ethnic tensions. More commonly, Western intervention has been ineffective and selfserving and Western governments have been able to obscure their actions because of popular ignorance of African culture and history. African tribalism is real, but it is much more a result of modern historical events than age-old hatreds. Greater understanding of African history and culture and greater care for Africa can result in reduction of ethnic violence.
Abstract: This paper examines the implications of the categorical separation between Nature, Culture and History that is common in Western museums. It focuses on the Royal British Columbia Museum's (RBCM) configuration of galleries, which separates, first, the human from the natural world, and, second, First Peoples from modern history. With the basic structure of its galleries remaining largely unchanged since the 1970s, but with significant alterations and additions, the RBCM is a palimpsest whose layers can be read in relation to the changing sociopolitical contexts and hegemonic ideals through which British Columbia has been imagined and represented. Its division of Nature, Culture and History represents a perspective entangled with European colonialism and thus reproduces colonial relations of authority, regardless of the intentions of those working within the institution. At the same time, it offers opportunities for contesting colonial legacies and rethinking what these categories might mean.
The Indian National Movement was one of the largest and most popular mass movements in world history through which entire country for united bringing independence and restoring civil rights. Education, the boycott of foreign clothes and liquor, the promotion of Indian industry were some of the issues in the nationalist movements. Compulsory primary education, the lowering of the taxation on the poor and middle classes, the reduction of the salt tax were some of the major demands made by the Indian National revolutionaries. It mobilized the youth, women and men of different castes and classes into political action and brought a mighty colonial empire to its end. The country struggled to free itself from the shackles of colonialism. National leaders like, Surendra Nath Banerji, Bal Gangadhar Tilak, Jawaharlal Nehru, Netaji Subhash Chandra Bose, Lala Lajpat Rai and Mahatma Gandhi Accepted that India was not a fully structured nation and thus their objective was to promote the growing unity of the Indian people through a common struggle against colonialism. Keeping in view this political and historical scenario, and attempt is made to interpret the past, culture and history in the two major novels of Nayantara Sahgal, Rich like Us and Plans for Departure. Both the novels adequately deal with these major themes.
We try to think the relationship between memory, historical cultures, and history teaching in the contemporary world. First, we discuss the analysis of the contemporary world developed by Jörn Rüsen, Christian Laville, François Hartog, and Hans Ulrich Gumbrecht. Therefore, we describe the historical horizon within which the history teaching - as a part of historical culture - is challenged to answer several historical demands, such as the tension democratization/ethnocentrism and the relationship sense/presence in production and orientation of historical statements.
The aim of this study was to investigate how the use of Sámi local culture and history can promote pupils' democratic education. Teachers in the local community were interviewed because they provided information about how place and region create good opportunities for the use of local history as well as history of the Sámi's with the aim of producing democratic citizens. Analyses of the teachers' different uses of local history such as scientifically, existentially, morally and ideologically in teaching, revealed that local contexts that local history provide can make the past more understandable for the pupils. Local history introduces common practices that enable them to participate in discussions with different and extended presentations of the past. According to the teachers, local history and culture create enthusiasm, participation, understanding, critical thinking and recognition. The teachers also used Sámi culture and history to discuss and integrate democratic values such as equality and diversity. The teachers explicitly used local history to promote local Sámi culture and history, and to build identities and create meaning (in life). Using local history when teaching history can arguably contribute to knowledge about a past that is usable – for instance to produce democratic citizens.
This introduction to the January 2008 special edition of PORTAL engages with the processes by which, in the early 21st century—an information age of hypertechnology, post-nationalism, post-Fordism, and dominating transnational media—culture and economy have become fused, and globalizations tend towards the mercantilization, commodification, and privatization of human experience. We recognize that access to the technologies of globalizations is uneven. Although cyberspace and other hypertechnologies have become an integral part of workspaces, and of the domestic space in most households, across Western industrialized societies, and for the middle and upper-classes everywhere, this is not a reality for most people in the world, including the Latin American underclasses, the majority of the continent's population. But we also agree with pundits who note how that limited access has not prevented a 'techno-virtual spillover' into the historical-material world. More and more people are increasingly touched by the techno-virtual realm and its logics, with a resultant transformation of global imaginaries in response to, for instance, the global spread of privatised entertainment and news via TV, satellites and the internet, and virtualized military operations (wars on terror, drugs, and rogue regimes). Under these hyperworldizing conditions, we asked, how might we talk about language, culture and history in Latin America, especially since language has an obvious, enduring importance as a tool for communication, and as the means to define culture and give narrative shape to our histories and power struggles? Our central term 'hyperworld(s)' presents us with numerous conceptual and epistemological challenges, not least because, whether unintended or not, it evokes cyberspace, thus gesturing toward either the seamless integration of physical and virtual reality, or its converse, a false opposition between the material and the virtual. The term may also evoke unresolved contradictions between discourses of technophobia and technophilia and, by extension, lead to dichotomized readings of the age in terms of the limits to, and capacities for, political resistance. In our conception, however, hyperworld(s) is not contained by the term virtuality; it encompasses, exceeds, challenges, and devours it. The production of hyperworld(s), or hyperworldization, connotes acceleration and hyperactivity on social, economic and financial levels, the intensified commodification of human life, the time-space compression of communication and much cultural production, the re-ordering of social relations themselves over-determined by technology wedded to capitalist market values, and, as a result, the re-ordering of daily life, cultural expression, and political activism for individuals and communities across the planet. These processes and intensities mean that new modes of reading the interactive and contradictory discursive fragmentations of the current epoch are required. Thus, rather than regarding cyberspace simply as the technological hallmark or dominant trope of our epoch, we might make deeper sense of hyperworld(s)—the bracketed plural implying myriad intersecting worlds within 'the' world—by identifying interactive entry points into contemporary lived historical-material and imagined complexities in the Latin American world(s). This article has been cited in the following: Duarte Alonso, Abel, and Yi Liu. "Changing Visitor Perceptions of a Capital City: The Case of Wellington, New Zealand." City Tourism: National Capital Perspectives, ed. Robert Maitland and Brent W. Richie. Wallingford, UK: CABI, 2010, 110-24.
This collection investigates the culture and history of the Low Countries in the sixteenth and seventeenth centuries from both international and interdisciplinary perspectives. The period was one of extraordinary upheaval and change, as the combined impact of Renaissance, Reformation and Revolt resulted in the radically new conditions – political, economic and intellectual – of the Dutch Republic in its Golden Age. While many aspects of this rich and nuanced era have been studied before, the emphasis of this volume is on a series of interactions and interrelations: between communities and their varying but often cognate languages; between different but overlapping spheres of human activity; between culture and history. The chapters are written by historians, linguists, bibliographers, art historians and literary scholars based in the Netherlands, Belgium, Great Britain and the United States. In continually crossing disciplinary, linguistic and national boundaries, while keeping the culture and history of the Low Countries in the Renaissance and Golden Age in focus, this book opens up new and often surprising perspectives on a region all the more intriguing for the very complexity of its entanglements.
The Adampol settlement, currently known as Polonezköy, is located in the Beykoz district of Istanbul (Appendix 1). The village was founded in the middle of the 19th century, as a result of historical and political relations between the Ottomans and Poland. Therefore, the historical process of the founding and development of the village should be summarized. After having started to deteriorate in the 15th century, Ottoman-Polish relations entered a process of peace with the Treaty of Karlowitz in 1699, primarily due to Russia's increasing power. In 1768, the Ottoman Empire declared war on Russia on the grounds that they had intervened in Polish affairs. In spite of the Ottoman assistance, Polish lands were shared between Prussia, Russia and Austria in 1772. After the split, a number of Polish immigrants came to Istanbul.
Museums of the world store countless artistic values, which are predominantly located in secure storages, looked after and cared for by museum staff. The museum as a democratic institution in the modern situation wants to be the mediator and unifier of communities, making the cultural and historical values available in their collections accessible to people with special needs, including those with vision impairments, thus widening their circle of visitors. The aim of the article: Study the importance of tactile perception in ensuring accessibility of artistic works to people with vision impairments and analyse the acquired results of the arts catalogue "Still Life" supplemented with tactile images usage in the museum educational programs. The research results were obtained using theoretical research methods: study, analysis and assessment of scientific and journalistic literature, which reveals the essence of the problem, as well as the reflection of personal experience.
In 1995 the departments of transportation in Minnesota, Iowa, Missouri, Kansas, Oklahoma and Texas formed a partnership to develop and implement a plan to establish a national wildflower corridor from Canada to Mexico. Plan objectives included identification and protection of prairie remnants and rare species found in highway rights-of-way, establishing local origin native grasses and wildflowers to connect native remnants thus establishing a linear corridor; interpretation and educational efforts to increase awareness of natural and cultural prairie resources; assistance and cooperative efforts with communities along a designated and signed Prairie Passage route. In 1995 The Federal Highway Administration (FHWA) provided a $50,000 grant to each of the six states to perform initial surveys and planning for the Prairie Passage. Implementation of each state's plan is being accomplished through a variety of funding packages created by each state. From 1999 through 2003 Minnesota was funded by a $750,000, 20:80 match between the Legislative Commission on Minnesota Resources and TEA-21. Brochures, guide-books, posters, rest area kiosks, interpretive trails, and signage have been developed with this funding. Kansas and Oklahoma also received TEA-21 funding. Plantings have been established and interpretive materials are being developed. Iowa and Missouri have received other state funding. Response to signage and distribution of interpretive materials in Minnesota has been enthusiastic and positive. Several communities on the signed route have proposed cooperative projects around Prairie Passage to further promote economic development and tourism in their areas. DOT district personnel have requested further information and training for use in planning and maintenance. It is hoped that other states will see similar results with materials and projects developed for their states.
Written at the height of Stalin's first "five-year plan" for the industrialization of Soviet Russia and the parallel campaign to collectivize Soviet agriculture, Andrei Platonov's The Foundation Pit registers a dissonant mixture of utopian longings and despair. Furthermore, it provides essential background to Platonov's parody of the mainstream Soviet "production" novel, which is widely recognized as one of the masterpieces of twentieth-century Russian prose. In addition to an overview of the work's key themes, it discusses their place within Platonov's oeuvre as a whole, his troubled relations with literary officialdom, the work's ideological and political background, and key critical responses since the work's first publication in the West in 1973.
The article takes aim at a core difficulty with many current conceptualizations of "historical"culture – that of striking a balance between the common attribution of special privilege to thediscipline of history and professional historians and a potential, emerging democratization oftalk about the past. Seeking some working middle ground is seen as particularly timely giventhe contemporary media culture environment where sentiment appears to increasingly favourchoosing one's positioning relatively freely from facts and expertise. To this end, views presentedunder the umbrella term of historical culture, which largely appear to reserve a curatorial rolefor the various history professionals, are complemented by more explicitly emancipatoryorientations from debates on perceived shifts in public focus to heritage and memory as wellas from key postmodern-inspired approaches to thinking about the past. Several terminologicalrecommendations are argued for, chief among them a reconceptualization of the overall fieldin terms of history culture, whereby professional history and popular and public "parahistory"practices might more readily be viewed as on equal footing.
Abstract The article takes aim at a core difficulty with many current conceptualizations of "historical" culture — that of striking a balance between the common attribution of special privilege to the discipline of history and professional historians and a potential, emerging democratization of talk about the past. Seeking some working middle ground is seen as particularly timely given the contemporary media culture environment where sentiment appears to increasingly favour choosing one's positioning relatively freely from facts and expertise. To this end, views presented under the umbrella term of historical culture, which largely appear to reserve a curatorial role for the various history professionals, are complemented by more explicitly emancipatory orientations from debates on perceived shifts in public focus to heritage and memory as well as from key postmodern-inspired approaches to thinking about the past. Several terminological recommendations are argued for, chief among them a reconceptualization of the overall field in terms of history culture, whereby professional history and popular and public "parahistory" practices might more readily be viewed as on equal footing.
This article approaches Finnish documentary films as part of current history culture and 'sense of history'. Through three examples of Finnish documentary films, it examines the relationship between history documentaries and academic history with reference to the modes of documentary filmmaking and to history theories. In analysing the films, the 'orientation' of the films as well as their 'organization' is of interest. The article is particularly interested in national history representations and media memory. It emphasizes the production context of the films. The article suggests that in order to understand history documentaries as a part of history culture means taking into consideration the particular history culture in question, the documentary tradition of a country, and, first of all, the production context of a documentary. ; This article approaches Finnish documentary films as part of current history culture and 'sense of history'. Through three examples of Finnish documentary films, it examines the relationship between history documentaries and academic history with reference to the modes of documentary filmmaking and to history theories. In analysing the films, the 'orientation' of the films as well as their 'organization' is of interest. The article is particularly interested in national history representations and media memory. It emphasizes the production context of the films. The article suggests that in order to understand history documentaries as a part of history culture means taking into consideration the particular history culture in question, the documentary tradition of a country, and, first of all, the production context of a documentary. ; Peer reviewed
peer-reviewed ; Design in it's widest definition, does not exist within it's own paradigm. Many things affect design and it's outcomes. Specific design disciplines influence, and are influenced by other creative areas and also by wider culture. Historical, societal and political events effect design and vice versa.
