scholarly journals Cultura material y cultura visual de las villae en el ager de Olisipo = Material culture and visual culture of the villae in the ager of Olisipo

2018 ◽  
pp. 11
Author(s):  
Jorge Tomás García
Keyword(s):  
Visual Culture ◽  
Material Culture ◽  
North Africa ◽  
Mechanisms Of Action ◽  
Rural Settlements ◽  
Italian Peninsula ◽  
Material Reality ◽  
Roman Province ◽  
Different Parts

Resumen: La cultura material en el contexto agrario caracteriza de manera definitiva la cosmovisión de la provincia romana de Lusitania. Este trabajo tiene como objetivo analizar la realidad material de los distintos asentamientos rurales reconocidos como villae en el ager de Olisipo –actual Lisboa-. La riqueza geográfica de la zona (a través del contraste ager-litoral), la variedad económica de los intercambios comerciales (especialmente las factorías de pescado), las influencias artísticas de distintas partes del Imperio (norte de África y península Itálica), y la idiosincrasia propia de Lusitania, conforman un caso de estudio paradigmático para definir los mecanismos de actuación de la cultura material en la zona de Olisipo y su ager.Abstract: Material culture in the agrarian context characterizes the worldview of the Roman province of Lusitania. This article aims to analyze the material reality of the different rural settlements recognized as villae in the ager of Olisipo –Lisbon today-. The geographic richness of the area (contrast ager-littoral), the economic variety of commercial exchanges (especially fish factories), the artistic influences of different parts of the Empire (North Africa and Italian peninsula), and idiosyncrasy of Lusitania, constitute a paradigmatic case study to define the mechanisms of action of the material culture in the area of Olisipio and its ager.

Epilogue

2016 ◽  
Author(s):  
Camilo D. Trumper
Keyword(s):  
Visual Culture ◽  
Material Culture ◽  
Political Violence ◽  
Political Conflict ◽  
Street Theater ◽  
Effective Form ◽  
Political Association ◽  
Resistance Movement ◽  
Street Photography

The concluding chapter returns to the book’s different subjects, and studies how they took new shape in the early moments of the regime that toppled Allende and inaugurated a military dictatorship that ruled for close to two decades. It then turns to street photography as a case study for transformation and continuity in political practice and visual culture. It shows how photographers responded to political repression by fashioning a visual language that played upon the “objectivity” of the lens and the “transparency” of the image, fashioning an innovative genre of “creative testimony.” Street photographers ultimately turned images into the preeminent medium around which they could organize an active resistance movement. This perspective suggests that citizens responded to political violence by reimagining the tactics of political conflict they had developed in democracy into a rich visual and material culture of political resistance. In the absence of generalized armed conflict, ephemeral acts and visual culture became the most effective form of political engagement and resistance in Chile. They scrawled slogans and images on buildings, distributed leaflets, acted out fleeting forms of furtive political street theater, and crashed empty pots and pans as an ongoing form of aural protest. Developed in democracy but reimagined under dictatorship, these ephemeral practices were essential to the creation of clandestine networks of political association and organization after the coup.

Conclusion

2016 ◽  
Author(s):  
Camilo D. Trumper
Keyword(s):  
Visual Culture ◽  
Material Culture ◽  
Political Violence ◽  
Political Conflict ◽  
Street Theater ◽  
Effective Form ◽  
Political Association ◽  
Resistance Movement ◽  
Street Photography

The concluding chapter returns to the book’s different subjects, and studies how they took new shape in the early moments of the regime that toppled Allende and inaugurated a military dictatorship that ruled for close to two decades. It then turns to street photography as a case study for transformation and continuity in political practice and visual culture. It shows how photographers responded to political repression by fashioning a visual language that played upon the “objectivity” of the lens and the “transparency” of the image, fashioning an innovative genre of “creative testimony.” Street photographers ultimately turned images into the preeminent medium around which they could organize an active resistance movement. This perspective suggests that citizens responded to political violence by reimagining the tactics of political conflict they had developed in democracy into a rich visual and material culture of political resistance. In the absence of generalized armed conflict, ephemeral acts and visual culture became the most effective form of political engagement and resistance in Chile. They scrawled slogans and images on buildings, distributed leaflets, acted out fleeting forms of furtive political street theater, and crashed empty pots and pans as an ongoing form of aural protest. Developed in democracy but reimagined under dictatorship, these ephemeral practices were essential to the creation of clandestine networks of political association and organization after the coup.

Press Propaganda and Subaltern Agents of Pan-Islamic Networks in the Muslim Mediterranean World prior to World War I

2018 ◽  
Author(s):  
Odile Moreau
Keyword(s):  
Middle East ◽  
World War I ◽  
North Africa ◽  
World War ◽  
Subaltern Studies ◽  
Resistance Movements ◽  
The Press ◽  
Mediterranean World ◽  
History Of

This chapter explores movement and circulation across the Mediterranean and seeks to contribute to a history of proto-nationalism in the Maghrib and the Middle East at a particular moment prior to World War I. The discussion is particularly concerned with the interface of two Mediterranean spaces: the Middle East (Egypt, Ottoman Empire) and North Africa (Morocco), where the latter is viewed as a case study where resistance movements sought external allies as a way of compensating for their internal weakness. Applying methods developed by Subaltern Studies, and linking macro-historical approaches, namely of a translocal movement in the Muslim Mediterranean, it explores how the Egypt-based society, al-Ittihad al-Maghribi, through its agent, Aref Taher, used the press as an instrument for political propaganda, promoting its Pan-Islamic programme and its goal of uniting North Africa.

Die Spur des Stoffs. Ermittlungsrausch in Friedrich Glausers Die Fieberkurve

2019 ◽  
Vol 48 (1) ◽  
pp. 57-89
Author(s):  
Mareike Schildmann
Keyword(s):  
Material Culture ◽  
Natural Resources ◽  
20Th Century ◽  
North Africa ◽  
Oil And Gas ◽  
Logical Structure ◽  
The Novel ◽  
Conservative Approach ◽  
Crime Novel ◽  
The 19Th Century

Abstract This article traces some of the fundamental poetological changes that the traditional crime novel undergoes in the work of the Swiss author Friedrich Glauser at the beginning of the 20th century. The rational-analytical, conservative approach of the criminal novel in the 19th century implied – according to Luc Boltanski – the separation of an epistemologically structured, institutionalized order of “reality” and a chaotic, unruly, unformatted “world” – a separation that is questioned, but reestablished in the dramaturgy of crime and its resolution. By shifting the attention from the logical structure of ‘whodunnit’ to the sensual material culture and “atmosphere” that surrounds actions and people, Glauser’s novels blur these epistemological and ontological boundaries. The article shows how in Die Fieberkurve, the second novel of Glauser’s famous Wachtmeister Studer-series, material and sensual substances develop a specific, powerful dynamic that dissipates, complicates, crosslinks, and confuses the objects and acts of investigation as well as its narration. The material spoors, dust, fibers, fingerprints, intoxicants and natural resources like oil and gas – which lead the investigation from Switzerland to North Africa – trigger a new sensual mode of perception and reception that replaces the reassuring criminological ideal of solution by the logic of “dissolution”. The novel thereby demonstrates the poetic impact of the slogan of modernity: matter matters.

scholarly journals Whose Landscape Is It? Remapping Memory and History in Interwar Central Europe

2021 ◽  
pp. 1-26
Author(s):  
Nóra Veszprémi
Keyword(s):  
Visual Culture ◽  
Interwar Period ◽  
Historical Memory ◽  
Political Agenda ◽  
Mental Maps ◽  
Habsburg Empire ◽  
Cultural Traditions ◽  
Place Memory ◽  
Insight Into

Abstract After the collapse of the Habsburg Empire and the sanctioning of new national borders in 1920, the successor states faced the controversial task of reconceptualizing the idea of national territory. Images of historically significant landscapes played a crucial role in this process. Employing the concept of mental maps, this article explores how such images shaped the connections between place, memory, and landscape in Hungary and Czechoslovakia. Hungarian revisionist publications demonstrate how Hungarian nationalists visualized the organic integrity of “Greater Hungary,” while also implicitly adapting historical memory to the new geopolitical situation. As a counterpoint, images of the Váh region produced in interwar Czechoslovakia reveal how an opposing political agenda gave rise to a different imagery, while drawing on shared cultural traditions from the imperial past. Finally, the case study of Dévény/Devín/Theben shows how the idea of being positioned “between East and West” lived on in overlapping but politically opposed mental maps in the interwar period. By examining the cracks and continuities in the picturesque landscape tradition after 1918, the article offers new insight into the similarities and differences of nation-building processes from the perspective of visual culture.

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