Cultural History

Ever since jazz appeared in Hungary in the 1920s, it has entered an interaction with Gypsymusic of the coffee houses, which has been practised by the Romani minority as an urban, folkloristic, popular style of music. Instances when the Romani came across jazz, viewed from a historical angle, provide excellent examples of the complex ways Gypsy musicians related to the urban culture of different times. As in French and German-speaking countries, Roma and Sinti entertainment musicians in Hungary embraced jazz and transmitted it to their audience alongside the local repertoire. We believe that it is necessary to look into issues of history, society, (popular) culture, aesthetics, musicology, etc. in order to provide valid answers by Romani studies and jazz studies. From the viewpoint of interdisciplinary jazz studies, Gypsy musicians appear in a number of crucially important contexts, so that studies examining the social situation of the Roma and cultural science-based jazz studies may complement each other ideally and together they may be able to produce fruitful knowledge for both fields. The conference is aiming at this kind of synthesis by expecting talks exploringthe relation of the Gypsy/Roma to music and to jazz in the sphere of their own disciplines. There has been a certain ambivalence concerning the social acceptance of Gypsy music ever since the days of Ferenc Liszt whose book on the subject was based on false assumptions while his compositions truly elevated this music. Since then, a lot of scholarly and amateur works have been published, but there are some unanswered questions left. We are convinced that through the opportunities provided by the conference Hungarian researchers could play an inspiring role in the international scientific work to come on these subjects.
The conference will be held in Hungarian and English. Applicants are expected to send in a 200-250 word abstract in Hungarian and/or English with a bio of max. 100 words, including their affiliation. The same parameters are expected to be followed by applicants for the following events at the conference: roundtable, symposium (a couple of shorter contributions to the same subject) or workshop (held interactively about one topic) to the following e-mail address: jatakucs@gmail.comDeadline: August 31, 2020.The proceedings are planned to be published in Hungarian (Gondolat Publishers, Budapest)and in English
(L’ Harmattan, Paris)
, in separate volumes.

Conference Committee: Eszter
György
(ELTE BTK Atelier)
Tamás
H
ajnáczky (
KRE)
Ádám
Havas (Milestone Inst.)Lynn M. Hooker (Purdue University)
Ernő Kállai
(SZTE)
Kornél
Zipernovszky (Jatakucs)

Las misiones y los colegios fueron las instituciones centrales de la Compañía en el Antiguo Régimen. Si bien a las primeras la acomodatio les dio cierto carácter particular, los segundos fueron la piedra angular de la construcción de la identidad jesuita, como puede constatarse en la primera parte del libro, en la que se abordan distintos aspectos de la conformación de este complejo educativo. En la segunda parte se da cuenta de cómo los colegios se convirtieron en los enclaves para el retorno de la Compañía durante el siglo XIX, pero cómo también fueron el punto de fricción más claro entre las fuerzas Estado- Iglesia, ya que la educación se tornó en uno de los espacios de discusión más severos en el mundo laico que se instauraba en Occidente. Por otra parte, a esta pugna entre lo laico y lo religioso habría que sumar una nueva dificultad que hizo de los colegios decimonónicos una institución casi inconmensurable con respecto a los de la Antigua Compañía, pues si algo distinguía a estos últimos era el funcionamiento bajo la norma única de la Ratio Studiorum: tal como el profesor Gómez Diez señala en uno de los capítulos, "[... ] El modelo educativo tradicional no es viable. La diversidad entre los países dificulta establecer el mismo tipo de colegio en todas partes".

The historical aqueduct of Genoa runs for about forty kilometres in an Apennine valley behind the old nucleus of the city of Genoa, connecting vari- ous historical towns and villages and green areas.
To preserve the future of this manufact, that is unuseful and too extended to be managed by a single institution, it is needed to coordinate many people and institutions, in a continuous of small and big interventions that sometimes produce new decay.
The aqueduct belongs to the Municipality of Genoa which, in the last few years together with many other big and small bodies, has organized various initiatives to get it known, used and restored. Among these, an appointment has been given to Iscum [Institute for the History of Material Culture] for catalogu- ing the manufactured articles of the historical aqueduct, for the purpose of drawing up the files of ICCD [Central Institute for the Catalogue and Docu- mentation] serving for defining the protection of the object.

This article analyses how nineteenth-century medical science
apprehended the eye and its functions. It disputes Jonathan
Crary’s claim of the alleged mistrust towards human vision as
a source of reliable information from the 1830s onwards. It is
based on the analysis of scholarly and popular scientific publications
from the early 1850s to the first decades of the twentieth
century, a typology of sources overlooked by Crary as well as by
most of the works in the field of Visual Studies. It focuses on French
documents because of the progress undertaken by medical
research on the eyesight in the country at the time and the number
and scope of both scientific and popular publications. In the first
part, I analyse the new set of knowledge about the anatomy and
physiology of the eye that physicians developed at the time –
notably through the use of newly introduced instruments such as
the ophthalmoscope and the ophthalmometer. In the second part,
I describe how contemporary medical research led to the acknowledgment
of the subjectivity of visual perceptions and the fragile
nature of human visual capacities. In the last section, I show how,
through a process of classification and rationalisation of the newly
acquired knowledge, physicians managed to reinstate the objective
character of visual perceptions on the basis of their research.

A special issue of Studies in Musical Theatre offering a range of new critical perspectives on Lin-Manuel Miranda's Hamilton, including:

“Is It Like a Beat Without a Melody?”: Rap and Revolution in Hamilton | Jeffrey
Severs

Rise Up: Nuyorican Resistance and Transcultural Aesthetics in Hamilton | Gabriel
Mayora

Hamilton’s Women | Stacy Wolf

Blackout on Broadway: Affiliation and Audience in In the Heights and Hamilton |
Elena Machado Sáez

Staging a Revolution: The Cultural Tipping Points of John Gay and Lin-Manual
Miranda | Tiffany Yecke Brooks

Miranda’s Les Miz | Jeffrey Magee

Hamilton Meets Hip-Hop Pedagogy | Alison Dobrick

“Hey Yo, I’m Just Like My Country”: Teaching Miranda’s Hamilton as an
American Chronicle | Timothy J. Viator

Lin-Manuel Miranda and the Metamyth of a Nation’s Founding | Helen M. Whall

“What If This Bullet Is My Legacy?”: The Guns of Hamilton | Meredith Conti

Hamilton and Class | Matthew Clinton Sekellick

A Conversation Rewound: Queer and Racialized Temporalities in Hamilton |
Shereen Inayatulla and Andie Silva

Cultural history tends to elude positive definition. It deals in some sense with culture, and with history, combined in a creative and often critical analysis. But its strength and analytical potential is to be found in its slipperiness, in its critical attitude to authoritative categorization, and its relentless movement towards new angles, new spaces beyond the evident and the canonical.

This volume has sprung out of the Research School for Studies in Cultural History at the Faculty of Humanities of Stockholm University, a five-year interdisciplinary research programme focusing on interplays between past and present. The Research School has provided a productive space for border-crossing academic enterprises. And as a result, the seventeen essays of this volume display just as many innovative approaches to traditional academic subjects such as celebrity, literary genre, prehistoric remains, television, and historic monuments. All stem from unexpected combinations and sliding perspectives, focusing on obscure corners and gaps between the illuminated centres of traditional academic knowledge. From such sliding perspectives follows the realization that all narratives, representations, and claims of culture and history are in some sense political.

The seventeen essays in this volume demonstrate how a shifting kaleidoscope of the academic subjects makes new knowledge possible, and enables the formulation of new critical questions. Challenging, disturbing, inspirational, these essays all make cultural history.

To cite:
Wilkins, A. 2017. Rescaling the local: Multi-academy trusts, private monopoly and statecraft in England. Journal of Educational Administration and History, 49 (2), 171-185

For the past six years successive UK governments in England have introduced reforms intended to usher in less aggregated, top-down, bureaucratically overloaded models of service delivery as well as secure conditions for greater school autonomy.  Yet the ‘hollowing out’ of local government has not resulted in less bureaucracy on the ground or less regulation from above, nor has it diminished hierarchy as an organising principle of education governance.  In some cases, monopolies and monopolistic practices dominated by powerful bureaucracies and professional groups persist, albeit realised through the involvement of new actors and organisations from business and philanthropy.  In this paper I adopt a governmentality perspective to explore the political significance of large multi-academy trusts (MATs) – private sponsors contracted by central government to run publicly funded schools – to the generation of new scalar hierarchies and accountability infrastructures that assist in bringing the gaze of government to bear upon the actions of schools that are otherwise less visible under local government management.  On this account, it is argued, MATs are integral to statecraft and the invention and assemblage of particular apparatuses for intervening upon specific organisations, spaces and peoples.

En este texto se relata la crónica o, si se prefiere, el diario de los hechos que siguieron a la publicación del texto de fray Atanasio de Lobera, desde las primeras gestiones de 1598 para buscar una reliquia del santo hasta su consecución en 1644, pasando por su designación en 1617 como patrono de Tarazona o los primeros intentos por presentar dignamente el trofeo.

Los ensayos que integran el libro que el lector tiene entre sus manos se plantean como objetivo contribuir a desentrañar las ambiguas relaciones existentes entre demonología cristiana y cultura folklórica en un escenario específico –España y el mundo ibérico- y en un período determinado –la modernidad clásica. Para ello, la primera parte de Strix Hispanica se dedica al análisis de la historiografía de la caza de brujas europea, manteniendo como hilo conductor los debates en torno a la compleja mitología del sabbat. La segunda parte incluye una serie de estudios de caso en torno a dos figuras paradigmáticas del folklore ibérico tradicional: la bruja y el saludador. A poco que el especialista se aboca al análisis del complejo de la bruja peninsular detecta una superposición idiosincrásica de mitologemas que pone a prueba las más elaboradas herramientas teóricas y metodológicas al alcance de los historiadores profesionales. En efecto, el problema de la profunda originalidad del estereotipo de la bruja ibérica no puede abordarse sin recurrir al apoyo de otras disciplinas, llamadas a cubrir las lagunas, los silencios, que la historia académica no puede, no osa interpelar. El saludador, por su parte, es una de las figuras más irreductiblemente originales del folklore vernáculo. Aún cuando los saludadores no integraron de manera permanente el sistema de la brujería popular española, durante gran parte de la Edad Moderna hicieron de la detección de brujas y de la neutralización de maleficia una de sus actividades más lucrativas -más allá de su convencional virtud para curar la hidrofobia y de su espectacular dominio sobre el fuego. El complejo del saludador constituye un tema particularmente apropiado para encarar el estudio de las interacciones entre demonología erudita y cultura local, pues sus trazos específicos exigieron hasta sus mismísimos límites a los más sofisticados dispositivos diseñados por la teología tardo-escolástica.

In this essay, I examine the public discourse about Oswald Spengler's ideas in Britain in the 1920s and 1930s, particularly the »cultural morphology« he developed in his two-volume work Der Untergang des Abendlandes (translated into English in the second half of the 1920s as Decline of the West). Previous work has suggested that Spengler’s work was greeted in Britain, overall, with measured scepticism, although there were some individual enthusiasts. Beyond such  generalisations, however, there has so far been no systematic analysis of Spengler's British public reception in the two decades following the publication of Der Untergang des Abendlandes. As signalled in my title, I focus on press sources. These provide insight into three questions: how were Spengler's ideas described? With what other concepts or characteristics were they associated? How were patterns in their reception related to the cultural and political context of inter-war Britain? There was a focus across the period on what can be labelled Spengler's »organicism«, »relativism« and »determinism«. Moreover, Spengler's reception was also shaped by topics that were not specifically methodological: his erudition, pessimism, Germanness, advocacy of »Prussianism« and associations with Nazism.

Hunter Vaughan interweaves phenomenology and semiotics to analyze cinema's ability to challenge conventional modes of thought. Merging Maurice Merleau-Ponty's phenomenology of perception with Gilles Deleuze's image-philosophy, Vaughan applies a rich theoretical framework to a comparative analysis of Jean-Luc Godard's films, which critique the audio-visual illusion of empirical observation (objectivity), and the cinema of Alain Resnais, in which the sound-image generates innovative portrayals of individual experience (subjectivity). Both filmmakers radically upend conventional film practices and challenge philosophical traditions to alter our understanding of the self, the world, and the relationship between the two. Films discussed in detail include Godard's Vivre sa vie (1962), Contempt (1963), and 2 or 3 Things I Know About Her (1967); and Resnais's Hiroshima, mon amour (1959), Last Year at Marienbad (1961), and The War Is Over (1966). Situating the formative works of these filmmakers within a broader philosophical context, Vaughan pioneers a phenomenological film semiotics linking two disparate methodologies to the mirrored achievements of two seemingly irreconcilable artists.

Neste trabalho o objetivo principal é de evidenciar o nacionalismo alemão, através de Fichte
com o nacionalismo dinamarquês, através de Orla Lehmann no século XIX e seus
desdobramentos na anexação do Schleswig-Holstein pela Prússia no ano de 1866 e o papel
que tais movimentos tiveram neste processo histórico. Para entender esse contexto,
devemos ter em mente a questão linguística e a histórica dessa região, como também as
relações da Prússia com a Europa. A situação da Península da Jutlândia, e mais
propriamente dos ducados de Schleswig e Holstein começaram a preocupar a Europa no
século XIX, principalmente as potências estrangeiras, como a Grã-Bretanha, França e
Rússia, que não aceitariam uma Dinamarca enfraquecida em favor da Confederação
Germânica, nem a Prússia adquirirem o ducado de Holstein com o importante porto naval de
Kiel e com isso controlar todas as rotas de comércio através do mar Báltico. Essa tensão
surge devido as grandes aspirações de Bismarck, ou seja, de sua política expansionista de
cunho militar e econômico com bases no nacionalismo alemão do século XIX.

After beginning his historical work in Switzerland in the 1950s and then continuing it in the United States at the Menninger Foundation, Henri Ellenberger (1905–1993) became the leading historian of " dynamic psychiatry ". This expression commonly denotes mental medicine that draws from psychotherapeutic practices and psychological theories to improve our understanding of mental diseases and to cure them. Although still used today, usually in juxtaposition to 19th century alienism or to biological psychiatry, the origin and meaning of this expression are unclear. An unpublished lecture (1956) by Ellenberger on this subject, accompanied by an explanatory introduction, is reproduced here to shed light on Ellenberger's interpretation of that term. This article additionally aims to draw certain parallels and distinctions between Ellenberger, Michel Foucault and George Devereux's teaching in the 1950s. Considering that the history of psychiatry is now a well-established speciality in the academic world, Ellenberger's lecture is also an original document which enables us to trace the professionalization of psychiatric historiography as an academic discipline back to its beginnings after World War II.

Gaṇeśa is 1. Marut, kharva, 'dwarf', dancer, kavi, Brahmaṇaspati, Br̥haspati, 2. त्रिधातु, 'aggregate of 3 minerals', 3. R̥bhu founder of yajña, artist, rayi, 'wealth'.

Gaṇeśa is a कवि kavi, m. a singer , bard , poet (but in this sense without any technical application in the वेद) RV. VS. TS. AV. S3Br. i , 4 , 2 , 8Kat2hUp. iii , 14 MBh. Bhag. Bha1gP. Mn. vii , 49 R. Ragh.

Gaṇeśa is a scribe, a R̥bhu, 'artist' In the tradition of Indus Script, a scribe is also an artist because the writing system is composed with hypertextss incorporating hieroglyphs -- both pictorial motifs and 'signs or symbols', say, syllabic representations in Brāhmī or 'signs' of the Indus Script Corpora.

Since Mahābhārata is the fifth Veda itihāsa with ākhyāna-s and upākhyāna-s, the scribe of the sacred kāvya, by the kavi, -- is Gaṇeśa who is kavīnām kavi, he is the suprme kavi among kavi-s. The scribal narratiave is an affirmation of divine sanction for the documented narratives.

Hence, Gaṇeśa utters the praṇava, says 'om' accepting the terms stipulated by Vyāsa.

This tradition is exemplified by many manuscripts of Mahābhārata which are profusely illustrated to communicate the narrative effectivey.
Battle Between Ghatotkacha And Karna, Illustrated Folio

Battle of Kurukshetra.


Page from a Manuscript of the Mahabharata: Kichaka and Draupadi Disguised as the Maidservant Shairandhri 1670.
Indian, India, Deccan, Southern Karnataka 17th century opaque watercolor, ink, gold on paper 8 x 19⅜ in 20.32 x 49.21 cm Friends of Indian Art in memory of Dr. Meena Hazra 95.6

Read more at https://vmfa.museum/collections/art/page-manuscript-mahabharata-kichaka-draupadi-disguised-maidservant-shairandhri/#OpbYhP0yIZ7h6MRW.99

Illustrated palmleaf manuscripts in the collection of Orissa State Museum. Read more at:  http://www.harekrsna.com/sun/features/02-07/features555.htm

H: 11.8 W: 16.6 cm. Probably Seringapatam, South India, India


Newari Mahabharata, 14th-15th c. Philadelphia Museum of Art

Gaṇeśa is 1. scribe of Mahābhārata, 2. kavi; Brahmaṇaspati, Br̥haspati, 3. त्रिधातु, 'aggregate of 3 minerals', 4. R̥bhu founder of yajña, artist, rayi, 'wealth' Gaṇeśa is a Marut, R̥bhukṣa, who wields a thunderbolt. This is a metaphor for his tusk used as a writing instrument. That Gaṇeśa is a member of Marut Gaṇa is signified on a sculptural frieze of Kanchipuram Kailāsanātha temple.

See:

Bhāratīya ādhyātmikā itihāsa of tridhātu Gaṇeśa, śarva Śiva, Rāma, Kr̥ṣṇa 
https://tinyurl.com/yc95usjo

Tridhātu as Gaṇeśa, Tridhātu on Indus Script metalwork for crucible steel, ādhyātmikā metaphor pr̥thvyaptejorūpadhātu (R̥gveda)
http://tinyurl.com/kptlbz3

Gaṇeśa is Brāhmī scribe of Mahābhārata in the tradition of Indus Script cipher of Bronze Age
https://tinyurl.com/y79j8rxp

http://sanskritdocuments.org/mirrors/mahabharata/mahabharata-sarit.html

Gaṇeśa -- the leader of Marut Gaṇa, a scribe with dāt, an ivory stylus -- and Kṣṇadwaipāyana Vyāsa -- the black narrator, a Ganga-island dweller --  unite together after Gaṇeśa consents to be a scribe utteringom and together start with an invocation for success to Nara and Nārāyaṇa (nārāyaṇaṃ namaskṛtya naraṃ caiva narottamam; 1.1.0) and to goddess Sarasvatī (devīṃ sarasvatīṃ caiva tato jayam udīrayet; 1.1.0). Om is part of the iconography, pratimā, 'ādhyātmikā symbol' which refers to ātman (soul, self within) and Brahman (ultimate reality, entirety of the universe, truth, divine, supreme spirit, cosmic principles, knowledge). So, they start with ओम् Om pratimā which is प्रणव, praṇava. Om is the last sound a Yogi hears before entering the state of Turīya level of language, script and reality. The mystic syllable is affirmation of something divine in the narration and scripted text of Mahābhārata.

Why does Gaṇeśa uttar Om assenting to be a scribe of Vyasa's oral narrative?

Om (ॐ) is the pratigara (agreement) with a hymn. Likewise is tatha (so be it) with a song. But Om is something divine, and tatha is something human.
— Aitareya Aranyaka 23.6

तस्य वाचकः प्रणवः ॥२७॥

His word is Om.

— Yogasutra 1.27

ओं नमः (Oṃ namaḥ) Siddhanam (6 syllables), Om Nhi (2 syllables) and just Om (1 syllable) are the short forms of the Paramesthi-Mantra, also called Namokar Mantra or Navkar Mantra in Jainism

"Om Mani Padmi Hum" to be AUM,  the totality of sound, existence and consciousness in Bauddham

Oankar ('the Primal Sound') created Brahma, Oankar fashioned the consciousness,
From Oankar came mountains and ages, Oankar produced the Vedas,
By the grace of Oankar, people were saved through the divine word,
By the grace of Oankar, they were liberated through the teachings of the Guru.

— Ramakali Dakkhani, Adi Granth 929-930, Translated by Pashaura Singh.

Tamil version of the great epic venerates Gaṇeśa as scribe of the epic:

The information is given in the very first verse of Villi Bharatham and is quite famous as the "Kadavul Vaazhththu" (Prayer to the Divine). A rough/prosaic but literal translation would be:
"To make it firm as the fifth along with the four Vedas
On this sea-girt earth,
When the Mahabharata was spoken by the King of sages
Who possess unfading askesis and Truth,
Vinayaka wrote with the Mount Meru
As the cadjan leaf,
And His own tusk as the sharp stylus.
I salute Him with shoreless love."

(fifth along with the four Vedas -- Bharatah Panchamao Vedah; Vyasa is described as the king of sages; the sages are described as possessing unfading askesis and Truth (vaadaa thavam meymmai muni raajan); Mount Meru is described as "edu" which is palm or cadjan leaf).
Some copies of the work tack this and the following verse which is also a prayer to Vinayaka to the verses of praise by Villi's son Varantharuvaar that are always printed as a preface to the work.
http://mahabharata-resources.org/variations/prema-villi1.html

Two anient manuscripts announce Gaṇeśa as scribe of the epic:

Arrival of Heramba Gaṇeśa to write Mahābhārata announced in ādiparva:
सौतिरुवाच ।
एवमाभाष्य तं ब्रह्मा जगाम स्वं निवेशनम् ।
भगवान्स जगत्स्रष्टा ऋषिदेवगणैः सह ॥
ततः सस्मार हेरम्बं व्यासः सत्यवतीसुतः ॥
स्मृतमात्रो गणेशानो भक्तचिन्तितपूरकः ।
तत्राजगाम विघ्नेशो वेदव्यासो यतः स्थितः ॥
पूजितश्चोपविष्टश्च व्यासेनोक्तस्तदानघ ।
लेखको भारतस्यास्य भव त्वं गणनायक ॥
मयैव प्रोच्यमानस्य मनसा कल्पितस्य च ॥
श्रुत्वैतत्प्राह विघ्नेशो यदि मे लेखनी क्षणम् ।
लिखतो नावतिष्ठेत तदा स्यां लेखको ह्यहम् ॥

व्यासोऽप्युवाच तं देवमबुद्ध्वा मा लिख क्वचित् ।
ओमित्युक्त्वा गणेशोपि बभूव किल लेखकः ॥
ग्रन्थग्रन्थिं तदा चक्रे मुनिर्गूढं कुतूहलात् ।
यस्मिन्प्रतिज्ञया प्राह मुनिर्द्वैपायनस्त्विदम् ॥
अष्टौ श्लोकसहस्राणि अष्टौ श्लोकशतानि च ।
अहं वेद्मि शुको वेत्ति संजयो वेत्ति वा न वा ॥
तच्छ्लोककूटमद्यापि ग्रथितं सुदृढं मुने ।
भेत्तुं न शक्यतेऽर्थस्यं गूढत्वात्प्रश्रितस्य च ॥
सर्वज्ञोपि गणेशो यत्क्षणमास्ते विचारयन् ।
तावच्चकार व्यासोपि श्लोकानन्यान्बहूनपि ॥
तस्य वृक्षस्य वक्ष्यामि शाखापुष्पफलोदयम् ।
स्वादुमेध्यरसोपेतमच्छेद्यममरैरपि ॥
अनुक्रमणिकाध्यायं वृत्तान्तं सर्वपर्वणाम् ।
इदं द्वैपायनः पूर्वं पुत्रमध्यापयच्छुकम् ॥
ततोऽन्येभ्योऽनुरूपेभ्यः शिष्येभ्यः प्रददौ प्रभुषष्टिं शतसहस्राणि चकारान्यां स संहिताम् ।
त्रिंशच्छतसहस्रं च देवलोके प्रतिष्ठितम् ॥
पित्र्ये पञ्चदश प्रोक्तं रक्षोयक्षे चतुर्दश ।
एकं शतसहस्रं तु मानुषेषु प्रतिष्ठितम् ॥

http://sarit.indology.info/exist/apps/sarit/works/%C4%81diparva.html
 





http://asi.nic.in/asi_books/9002.pdf






Gaṇeśa with Gaṇa-s in Kailasanatha temple, Kanchipuram (685 to 705 CE, Rajasimha, Pallava dynasty)
Source: http://swamisblog.blogspot.in/2009/12/
These Marut Gaṇa are associated with the smelter work as seen on Bhuteshwar sculptural friezes.


 
Smelter. Kharva, dwarfs venerate linga atop smelter and tree (kuṭi 'tree' rebus: kuṭhi 'smelter'). Ekamukha Sivalinga atop smelter.

Gaṇeśa with Saptamatrikas, Aihole, Karnataka, 8th century CE.

The Devi Matrikas (flanked by Shiva and Ganesha), representing various Shakti aspects, from 9th-century Madhya Pradesh

Saptamātr̥kā-s with Gaṇeśa, at Panchalingeshvara temple in Karnataka.

Gaṇeśa. Entrance to Ellora caves.


Ellora Caves - Kailasa Temple - Group Of mātr̥kā-s with Gaṇeśa

Stone sculpture in National Museum, New Delhi, India. Śiva and Saptamātr̥kā-s.

Nataraja–Shiva (left) with Virabhadra and the first three mātr̥kā-s depicted with children – Ellora

It is a common misconception that fides and bona fides are ethical principles with changeable content, shaped by the development of social and moral values. They belong instead, since time immemorial, to the tradition of the ius civile, and are deeply rooted in Roman social structure (and its needs) as interpreted by the priests and by the jurists. The standard of fides and bona fides is always objective: in the archaic period, the real status of the parties (fides as the 'credit' of the individual within the group); afterwards, an abstact stardard identified with the bonus vir. The two concepts developed therefore from early on an (outwardly) dualistic value: on the one side, the respect of the parties' agreement; on the other side, the respect of all the terms implied in the nature of the relationship.

The thesis is divided into two parts and it aims to explain the historical events related to the bibliographical collection of the ancient Jesuit College of Perugia. The first part focuses on the Jesuit librarian history and on the reconstruction of the historical events related to the library of the Perugian college. The institute, founded in 1552, was endowed with a library a few years after its foundation, enriching its collection through different books acquisition channels. The analysis, conducted on unpublished archival documents and published material, reconstructs the events of the library by entering the special case of Perugia in the broader spectrum of the Jesuit librarian history . In this way I tried to provide a model of historical research adaptable to the different librarian realities of the ancient Society of Jesus. The second part of the dissertation consists of the partial reconstruction of the library catalog.

In the second half of the 16th century, Girolamo Righettino, a brilliant draughtsman and theologian (a member of the Order of the Canons Lateran), produced city views with ornamental frames characterised by their rich allegorical programme. The drawings earned him widespread fame and were handsomely rewarded. A recently discovered autograph manuscript by Righettino sheds precious light on his only surviving view-an elaborate plan of Turin (1583). This article offers an introductory portrait of a personality forgotten to history and presents new research that allows us to situate his unique output-at the intersection of art and science, theology and politics, topography and allegory-in the wider context of Counter-Reformation Italy, when the ambitions of absolutist rulers were stoked by the fear of Turkish advances in the Mediterranean.

The twenty-three years (1934-1957) between the end of the US Occupation and the start of the Duvalier era were a dynamic period of introspection and change in Haitian society. The relatively high degree of freedom of expression, the proliferation of ideologies like Marxism and Noirisme, and the "Revolution of 1946" were all linked to a transformation of Haitian politics and culture unprecedented since 1804. One clear indication of the spirit of this chapter of the country's history, which I have labeled the Haitian Sixties, was the progress made by the Kreyòl movement. After the setbacks under the US Occupation, the call for a legitimation of the popular language entered a phase of renewed vigor: it was bolstered by groundbreaking philological studies, concerted attempts to create a standard orthography, experiments in the use of the Kreyòl language as a medium of instruction, and a renaissance in Kreyòl-language literature. Yet as the movement progressed, it was hampered by new internal divisions and longstanding prejudices at different levels of Haitian society.

In this essay I seek to explore the icon of the Fighting Cock movement (Khorus Jangi) and of its Manifesto, " The Slaughterer of the Nightingale, " in order to consider its implications and imagistic allusions. In outlining the background of the Khorus Jangi and associated movements, I discuss the imagery of the khorus both in ancient Iran and globally, and in the context of the ideology of the Khorus Jangi. The Manifesto is discussed and analyzed and it is seen that the khorus prefigured the Manifesto, and heralded the appearance of a new movement in painting, as distinct from what had already happened in surrealist and modernist circles in writing. The manifestation of surrealist and modernist ideology in imagery seems to have been a response to this wake-up call of the Khorus Jangi.

Aida Foroutan, “Why the Fighting Cock? The Significance of the Imagery of the Khorus Jangi and its Manifesto ‘The Slaughterer of the Nightingale,’” Iran Namag, Volume 1, Number 1 (Spring 2016), XXVIII-XLIX.

https://www.irannamag.com/wp-content/uploads/2017/01/1.1-English-Foroutan-Iran-Namag.pdf

Negli anni Ottanta il punk era una forma d’arte, un simbolo globale di ribellione, una cultura musicale e giovanile: un fenomeno culturale complesso, che ha avuto importanti implicazioni politiche, tanto da diventare un nuovo circuito dell’attivismo giovanile e dell’impegno dopo il declino della “stagione dei movimenti”.

Fondato su un ampio ventaglio di fonti, il libro analizza origini e sviluppi del punk e lo colloca nelle sue reti transnazionali di produzione e mobilitazione: quell’esperienza diventa un osservatorio capace di restituire in modo originale le più ampie trasformazioni culturali e politiche del tempo, con particolare attenzione al caso dell’Italia e della Gran Bretagna.

Siamo nati da soli vuole in questo modo contribuire al rinnovamento delle cornici interpretative degli anni Ottanta, mettendo in discussione il senso comune sul decennio come “tempo del riflusso”, di “fine” della politica, di “trionfo” del privato e di “scomparsa” dei giovani.

Die Spätblüte der preußisch-deutschen Monarchie unter Wilhelm II. und der Durchbruch der Massenmedien fielen in Deutschland zeitlich zusammen. Erstmals untersucht das Buch von Martin Kohlrausch, was diese Konstellation für die Ausbildung der politischen Medienberichterstattung, mehr aber noch für die wilhelminische Monarchie bedeutete.
Indem diese Studie die Zäsur von 1918 überschreitet, vermag sie vielschichtige, bisher kaum beachtete Verbindungen zwischen der gescheiterten wilhelminischen "Medienmonarchie" und den ubiquitären Führerkonzepten, die lange vor 1918 aufkamen, herauszuarbeiten. Dies geschieht auf Grundlage eines breiten, bisher nicht erschlossenen Quellenspektrums, insbesondere von über 1000 systematisch erschlossenen Zeitungsartikeln und einem umfangreichen Sample politischer Pamphlete.

As historians are becoming more aware of the diversity of the Australian prisoner of war experience during the Second World War, increasing numbers of Indigenous Australians' stories are being identified. Through the combined hard work of researchers, families, and communities, a more complete picture of Aboriginal prisoner-of-war experiences is emerging.

The symposium “The found Christ” took place in Cervignano del Friuli (Udine) on Saturday, December 3, 2005, within the homonymous multi-year project (coord. scient. S. Blason Scarel and P. Casadio) dedicated to the rediscovery of the "Christ of the Countess", a colossal medieval wooden crucifix preserved in the chapel of St. Cross, the gentilitial oratory of the villa Bresciani in Cervignano. The Conference Proceedings are published two years later, enriched by further updates: in the volume the author outlines – for the first time – the history of the residence founded by the noble Bresciani family in Cervignano (the precious 'background' of the ancient sculpture) and he describes the different buildings, the dependencies and the furnishings including his famous 'guest', suggesting again the proposal that he already put forth at the symposium: that it is to be identified with the "Christ of St. Felix", a gigantic wooden crucifix seen in 1570 by the apostolic visitor Bartolomeo of Porcia & Brugnera inside the Basilica of Sts. Felix e Fortunate in Aquileia, at that time still raised although no more flourishing

Sabato 3 dicembre 2005 a Cervignano si svolse il convegno “Il Cristo ritrovato”, nell’ambito dell’omonimo progetto pluriennale (coordinamento scientifico: S. Blason Scarel - P. Casadio) dedicato alla riscoperta del “Cristo della Contessa”, il colossale crocifisso ligneo medievale conservato nella cappella di S. Croce, l’oratorio gentilizio della villa Bresciani a Cervignano. A due anni di distanza vede la luce il volume degli atti – arricchito da ulteriori aggiornamenti – al cui interno l’autore per la prima volta delinea le vicende storiche della dimora cervignanese fatta costruire dalla nobile famiglia Bresciani (il prezioso ‘sfondo’ dell’antica scultura) e ne descrive i diversi fabbricati, le pertinenze e l’arredo compreso il suo celebre ‘ospite’, riproponendo la proposta già avanzata durante il convegno: che esso sia da identificare con il “Cristo di San Felice”, il gigantesco crocifisso in legno visto dal visitatore apostolico Bartolomeo di Porcia e Brugnera nel 1570 all’interno della basilica aquileiese dei Santi Felice e Fortunato, all’epoca non più fiorente ma ancora in alzato

There has been little academic consideration of the life, work and ideas of the BBC radio producer Charles Parker. Where he is remembered it is for his work on the prize-winning series known as the Radio Ballads. Beginning with ‘The Ballad of John Axon’ in 1958 the series addressed the lives and work of working-class people, and was one of the first programmes to use ‘actuality’ incorporating original, spontaneous testimonies. The author values Parker’s work as an expression of the mentalités of welfare-state Britain and that wider project evinced by his colleagues and collaborators that sought to challenge the circumscribed lineaments of class, culture, history, education and language. However, an appreciation of Parker and his role in the process of democratizing the cultural sphere also
lends itself to a critique of the assumptions behind categories such as class, authenticity and experience that proved to be so useful in this moment.

This article explores the emergence and significance of printed game boards in Rome at the turn of the seventeenth century. These objects constitute an important and overlooked visual and material aspect of a pervasive culture of gaming that engrossed a huge range of the populace: both the rich and the poor, men and women, the educated and the illiterate. Printed game boards not only served to entertain, but also mirrored and reified deeper social and moral concerns about gambling and leisure, a tension between the prescribed morality of the legal sanctions, decrees, and censures associated with the Counter-Reformation, and the everyday games common both in courtly leisure and play on the street and in the tavern. Visually manifesting a dual understanding of games as both ludic and mimetic, printed game boards enacted the ontology of life’s journey for early modern players, from the courtly, to the religious, to the quotidian.

Claude Eatherly, pilota e metereologo,
era un ragazzo texano di
27 anni quando ordinò lo sgancio
della prima bomba atomica della
storia, Little Boy, che colpì Hiroshima
il 6 agosto 1945.
Nonostante la giovane età, non
era certo un dilettante: per quella
missione vennero scelti i migliori
piloti della US Army, e Eatherly
aveva già dato prova del suo valore
militare, abbattendo, nel corso
della sua fulminante carriera,
più di trenta aerei nemici. Dopo
lo sgancio della bomba, tuttavia,
lasciò l’esercito e rifi utò qualsiasi
riconoscimento al valore da parte
degli Stati Uniti. Compì anche
maldestre rapine e altri piccoli
crimini, con la speranza di trovare
sollievo nel biasimo collettivo. Ma
ciò non bastò a placare i suoi dilanianti
sensi di colpa e Eatherly
venne internato in un ospedale
psichiatrico. Fu in questo momento,
quattordici anni dopo Hiroshima,
che iniziò un carteggio con
Günther Anders, il fi losofo tedesco
autore del capolavoro L’uomo
è antiquato. Il risultato è questo
libro: un commovente scambio
epistolare tra Anders e un’anima
persa, in cerca di un’espiazione
tanto impossibile quanto necessaria.
Dopo anni di assenza dalle
librerie, torna disponibile una delle
testimonianze più toccanti sul
disastro che cambiò per sempre
la coscienza collettiva.

This article traces the pictorial lineages of images collected in one of the two Thun-Hohenstein albums through comparative analyses of fight books produced in the German-speaking lands, and considers how the representational strategies deployed in martial treatises inflected the ways that book painters and their audiences visualized the armoured body.

This volume brings together research on retailing and shopping and their embeddedness in urban space, themes that have attracted wide interest in recent decades. Addressing these themes over an era that bridges the early modern and modern period, the authors argue that the 'modernity' of the nineteenth century is often overemphasised, at the expense of recognising the continuities with the earlier period and the degree of innovation that took place before the onset of 'modernity'. This collection compares long-term developments in retail locations, retailing formats, regulation of shopping streets, and the cult of shopping for pleasure across a number of neighbouring countries and regions (Britain, France, Germany, Belgium and The Netherlands), and offers surprising new insights into the processes of cultural transfer, appropriation and exchange.