Search

The relationship between text and textile is ancient and multi-faceted. This paper aims to extend this relationship by placing a weaving practice in dialogue with H.D.’s novel Palimpsest. Weaving has a distinctive relationship with time, and therefore provides fertile ground for thinking through the way time is depicted in literary fiction. Time operates in weaving at various scales and rhythms, and Palimpsest furthers this understanding of time through its own rhythms and invocations of the image of the palimpsest. Drawing on my own weaving practice, my aim is to provide an account of how a craft practice might enable a particular method of reading texts that extends beyond traditional close reading methods.

Written by an experienced psychodynamic therapist, this paper likens one's narrative of becoming a therapist to an ancient palimpsest manuscript, where layer is built upon layer, yet traces of earlier texts keep coming through. Dipping into his personal archive of writings on this theme, the author revisits earlier constructions of his narrative, appraising them from his current perspective. Moving between past and present, personal experience and theory, clinical practice and research, this paper builds a rich, densely woven narrative account of becoming a therapist, while interrogating the process through which such a narrative is constructed and the purposes it serves. It concludes with reflections on the insights gained through the process of this inquiry, acknowledging the significant ontological and epistemological shifts that have occurred in the author's approach to both asking and answering the question 'What brings me here?' [ABSTRACT FROM AUTHOR]

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article employs palimpsestuous reading practices to query the transpacific reach and imperial pedigree of the comic strip "Charisma Man." Turning to Max Weber's theory of "charismatic authority" to understand the comic's humorous portrayals of white male heterosexual privilege in Asia, the article proposes that the comic strip illuminates the patterns of raced and gendered "hereditary charisma" that continue to haunt transpacific relations. "Charisma Man," penned by a team of North American men living in Japan, links contemporary white migrants across Asia – especially native English teachers – with a longue durée of Euro-American imperial actors abroad and builds meaning through intertextual engagement with the iconic cultural texts Superman and Madame Butterfly. The article concludes that "Charisma Man" makes light of white male hereditary charisma in Asia through a layering of temporally-disjointed transpacific discourses and, in turn, adds one more layer to a palimpsestuous sedimentation of sexist and racist hierarchies, normalizing their continuation within contemporary globalization. [ABSTRACT FROM AUTHOR]

Critics agree that Sarah Waters’ fourth novel, The Night Watch (2006), marks a turn in her fiction, away from the farcical tone of her first three neo-Victorian novels and towards an ever-more serious concern with the changes in class structures and gender roles brought about by the fact of war. The novel tells the parallel stories of three women and one man living in various areas of London in the 1940s. Though they have different social status, ideology, and sexual orientation, they share similarly traumatic experiences as, together with war trauma, they harbour individual feelings of loss and/or shame related to their deviance from patriarchal norms. The article seeks to demonstrate that the palimpsestic and backward structure of the novel performs formally the ‘belatedness of trauma’ (Caruth 1995, pp. 4–5), in an attempt to respond aesthetically and ethically to the ‘mnemonic void’ (Freud [1014] 1950) or ‘black hole’ (Pitman and Orr 1990; Bloom 2010; Van der Kolk and McFarlane [1998] 2004) left both in the characters’ traumatised psyches and in our cultural memory of the 1940s by the erased memories of the decade’s non-normative or dissident others.

Summary: The concept of the Anthropocene has highlighted the significant global impact of human activities on ecological systems on a geological scale (Crutzen 2002). This concept has come to significantly influence a scientific and political agenda orientated towards documenting and denouncing multiple negative anthropogenic factors that have led to global change. Nevertheless, not all large-scale environmental transformations by human societies have been intrinsically destructive. Many indigenous communities in the Neotropics, Palearctic, sub-Saharan Africa, North America, Indo-Malaya and Australasia have radically – albeit often constructively – modified the physical and biotic conditions of the ecological systems that they inhabit (Ellis 2015). It is necessary to revise the assumption that human actions always degrade the environment, through a reconceptualization that we have previously called 'anthropogenesis' (Rivera-Núñez et al. 2020). Instead of the naïve portrayal of the 'good Anthropocene' (Hamilton 2015, Fremaux & Barry 2019), anthropogenesis seeks to enrich the biodiversity debate with the historical human expressions of constructed environments that the conservation-focused 'Edenic sciences' and the 'pristine syndrome' (Robbins & Moore 2013) tend to ignore, or 'Anthropo-not-see' (de la Cadena 2019). The objective of this comment paper is to urge the academic community, grassroots organizations and governments to employ a concept of 'palimpsest' (from the Ancient Greek for 'again scraped', implying that something is scraped clear ready to be used again) in the reconceptualization of biodiversity conservation from a historical perspective that implements research and policy agendas that incorporate the human propensity for environmental construction in a deeper and more inclusive manner. [ABSTRACT FROM AUTHOR]

In recent years, a controversy has arisen in Japan regarding an ongoing landscape policy proposing to eliminate the forest of utility poles and electric wires that covers almost all urban and rural landscapes. The controversy is somewhat peculiar vis-à-vis the existing study of landscape, partly because of the utterly ubiquitous and non-monumental characteristics of the poles and partly because of the general apathy in public reaction to them. Drawing upon diverse academic sources, this interdisciplinary exploration unfolds a complex entanglement of tacit landscape ideas behind the controversy. The author discusses the effectiveness and limits of addressing both the substantial and visual aspects of the poles vis-à-vis the public and policy makers by using three conceptual frameworks: (1) 'erasure' in the landscape as palimpsest, (2) the dual aspects of 'noise', and (3) artialisation, in order to understand this mundane element of technological objects in the context of creating contemporary landscapes. [ABSTRACT FROM AUTHOR]

The relationship between text and textile is ancient and multi-faceted. This paper aims to extend this relationship by placing a weaving practice in dialogue with H.D.'s novel Palimpsest. Weaving has a distinctive relationship with time, and therefore provides fertile ground for thinking through the way time is depicted in literary fiction. Time operates in weaving at various scales and rhythms, and Palimpsest furthers this understanding of time through its own rhythms and invocations of the image of the palimpsest. Drawing on my own weaving practice, my aim is to provide an account of how a craft practice might enable a particular method of reading texts that extends beyond traditional close reading methods. [ABSTRACT FROM AUTHOR]

The idea that Kenya is made up of 42(+) tribes is widespread, but the origins, nature and consequences of any list are not well-known. This article compares ethnic classifications in all Kenyan censuses to demonstrate the origins of the '42' in (only) the 1969 census, and the multiple political purposes of classifying and counting. To make sense of why the 42(+) remains significant, I argue a cultivated vagueness provides a sense of consistency, linking a national past to present and future, while providing the basis for both numbers-based competitive politics and more inclusive politics. Moreover, it avoids engaging in politically risky work of making legible sense of shifts in ethnic identities, classifications and numbers, and avoids having to resolve their relation to the nation, which benefits both state and citizens. Extending literature on the political utility of uncertainty, I theorise this cultivated vagueness as magic, backed by opaque forces, potentially dangerous or beneficent, which deters interrogation or certainty on all sides. To further clarify this awkward relationship between vagueness and certainty, I argue ethnic classifications are intelligible via the social imaginary of the 42(+), but not especially legible, contesting the literature on census practices as tools of legibility and governability. [ABSTRACT FROM AUTHOR]

The present article examines the drama Birds of a Kind by the Lebanese-Canadian author Wajdi Mouawad. It analyses the allegorical character of Wazzan which is based on the historical figure Leo Africanus, a Moroccan diplomat and polymath of Granadan origin who in the early 16th century was kidnapped by Christian pirates and offered to Pope Leon X. Following his conversion from Islam to Catholicism he became the first author to present Africa to the Europeans through his works, published under the patronage of two popes from the Medici family. Leo Africanus was introduced to Mouawad by the American scholar Natalie Zemon Davis. In her study Trickster Travels (2006) she discusses the ambiguity and the evasiveness of this enigmatic historical figure whose character she highlights through the story of the amphibious bird. It is a parable placed as the author's paratextual notice at the beginning of The Book of Cosmography and Geography of Africa (1526 [1550]), Leo Africanus's most important scholarly work, and in spite of many possible sources, it is definitely his own invention. This article aims to demonstrate how Mouawad distanced his dramatic character from the original figure - the historiographic image of a trickster - by changing the point of the aforementioned parable. The story of the amphibious bird in Birds of a Kind, told by Wazzan to a Jew who right before his death is revealed to have an Arabic origin, is transformed form the parable of a trickster into a legend of someone who manages to overcome prejudice in order to find his identity. For Mouawad, Wazzan personifies the reconciliation between Judaism and Islam, transmitting at the same time an idea of the world dreamed of by the humanism of the Renaissance and Enlightenment. [ABSTRACT FROM AUTHOR]

Copyright of Annali dell'Universita degli Studi di Napoli L'Orientale is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Art of Words / Umjetnost Riječi is the property of Umjetnost Rijeci and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergies Algérie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The contemporary ‘face’ of Bruno Schulz is a result of the collaboration between several visions as well as the specific relation between presence and absence. To a large extent, this fact allows the treatment of Schulz’s reconstructed image not as the static whole, but rather as a dynamic and open identity, defined not only by the biographical reconstructions, but also by its fragmentation and incompleteness. One of the questions that the article evokes is, whether absence can serve as a factor in decoding Schulz’s nature.

This article is interested in the relationship of contemporary Moroccan writing to the French literary tradition, concentrating in particular on the texts of Abdelkebir Khatibi and Abdellah Taïa. It focuses on how the culturally composite prose of Abdellah Taïa seeks to transform the neo-colonial assumptions about Franco-Maghrebi relations, in which any trace of a metropolitan French author is presumed to be no more than the result of an imperial education. From Flaubert to Genet, from Les Lettres portugaises to L’Immoraliste, Taïa and Khatibi often resurrect metropolitan French authors in their writing. Yet, rather than parroting French stories in a colonial act of self-effacement, Taïa’s texts rehouse French narratives on the Moroccan page to produce a shared space of intergenerational and transnational memory. Cet article a pour but de s’interroger sur les relations littéraires entre les auteurs canoniques français et la littérature marocaine contemporaine. J’évoque la façon dont l’hybridité linguistique et littéraire de l'écriture marocaine, et d’Abdelkebir Khatibi et d’Abdallah Taïa en particulier, cherche à transformer les hypothèses néocoloniales des relations franco-maghrébines qui imputent toute trace d'un auteur métropolitain français à une éducation impériale. De Flaubert à Genet, des Lettres portugaises à L’Immoraliste, les œuvres de Taïa ressuscitent souvent des auteurs français métropolitains. Plutôt que de raconter des histoires françaises dans un acte colonial d'effacement, j’avance que leurs textes relogent les récits français sur la page marocaine pour produire un espace partagé de mémoire intergénérationnelle et transnationale.

This response to Shelley Fisher Fishkin's “‘Deep Maps’: A Brief for Digital Palimpsest Mapping Projects” explicates the layers of complex interconnected practices that Fishkin’s paradigm of Deep Maps instates. Bishop notes that Fishkin’s trope of palimpsests “depends on a scholarly methodology that privileges the transnational as a structure, a means, and a dynamic site of excavation for intellectual inquiry” and “provides for new forms of collaborative writing and new reading practices” in which scholars, students, and even members of the general public can build geo-archives together. Fishkin’s Deep Maps project, Bishop concludes, foregrounds a construction of place in a “self-reflective placial exercise” that accepts “other national literatures and histories [with] . . . their own ways of understanding and engaging with the transnational.”

This article proposes a potentially fruitful “next step” for transnational American Studies, inviting colleagues around the world to collaborate on Digital Palimpsest Mapping Projects—DPMPs, or “Deep Maps.” “Deep Maps,” curated collaboratively by scholars in multiple locations, would put multilingual digital archives around the globe in conversation with one another, using maps as the gateway. “Deep Maps” could be read as palimpsests, allowing multiple version of events, texts, and phenomena to be written over each other—with each version visible under the layers. “Deep Maps” would bring multilingual perspectives from multiple archival locations together to complicate our understanding of topics that engaged people across the globe. Links to secondary sources and interpretive frameworks introducing the topic of any given “Deep Map” would help tell transnational stories in fresh ways. “Deep Maps” would not replace traditional scholarship; rather, they would present it in new contexts, amplifying its impact. Some examples of “Deep Maps” currently under construction are explored. By requiring collaboration—across borders, languages, nations, continents, and disciplines—Digital Palimpsest Mapping Projects would bring our interdependence—as scholars, as citizens, as human beings—to the foreground and could help us take the field of transnational American Studies in some exciting new directions.

A palimpsest is a parchment from which writing has been erased and replaced with new writing, but which still bears the traces of the earlier writing. ‘The Palimpsest Paradox’ is a work of ficto-criticism which engages with the notion of memory as a palimpsest in both a creative and a critical manner. The narrator of the piece, who has early onset dementia, is giving a lecture on memory in Margaret Atwood’s The Handmaid’s Tale and Arundhati Roy’s The God of Small Things. The content of the lecture is juxtaposed with the narrator’s personal narrative in the form of thoughts and memories. As the lecture progresses, the boundary between the two blurs: her memory loss becomes obvious, while memories of her childhood trauma intrude into the lecture. In this way, ‘The Palimpsest Paradox’ interrogates the interplay between remembering and forgetting, erasure and inscription, and covering and uncovering.

The study pursues two aims. The first part is dedicated to the deciphering and editing of a new text preserved as palimpsest on a parchment bifolio. It belongs to a small collection of documents from the Cairo Genizah owned by the University of Geneva. The fragment reveals an extract from an early version of a Passion of St Plato of Ancyra, a saint who is best known through Byzantine menologia. His Passion was also reworked by Symeon Metaphrastes in the 10th century. However, the new text is closest to an anonymous pre-metaphrastic version available in Migne's Patrologia Graeca. The second aim of the paper (developed in Part 2) is, therefore, to establish the relation between different versions of the Passion and locate the new witness from the Cairo Genizah in the history of the transmission of this text. [ABSTRACT FROM AUTHOR]

This paper considers the possibility that as subject or agent, the landscape might have the potential to contain, store or transmit memories of their past, which are engaged experientially as uncanny. In a simple sense it asks why there are some landscapes – or landscape features – that are regarded as spiritually animated by different social groups, at different times. The paper focuses on the Neolithic temple site of Borġ-in-Nadur, in Southern Malta, which as well as having been a site of prehistoric ritual activity has more recently been the site of a significant devotion to the Virgin Mary, who graced the site with regular apparitions, and a focus for national and transnational Goddess pilgrimage. The paper suggests that sites such as Borġ-in-Nadur can be seen as palimpsest landscapes, in which memory is layered such that experiential engagements with them draw the past in to the present, and forwards into the future. The paper examines the intertwining of prehistoric, Catholic and Neo-pagan engagements with Borġ-in-Nadur, extending Pierre Nora's concept of lieux de memoire (sites of memory) to encompass the milieux de memoire, or memorial environments, which are themselves also context of, and for, the uncanny. [ABSTRACT FROM AUTHOR]

This paper reviews the Society of Antiquaries' Evolution of the Landscape project, which started in 1974, and the project's Sarsen Stones in Wessex survey. The survey was an ambitious public archaeology undertaking, involving c 100 volunteers led by Fellows of the Society during the 1970s. Its aims, objectives and outcomes are described in this article. The survey's unique dataset, produced for the counties of Wiltshire, Hampshire and Dorset, has now been digitised. Drawing on the dataset, the paper situates the Evolution of the Landscape project in the context of later twentieth-century British archaeology. It demonstrates the importance not only of individual Fellows, but also contemporary movements in academic and development-led archaeology, to the direction of the Society's activities in this formative period for the discipline today, and shows how the Society's research was engaged with some of archaeology's most pressing cultural resource management issues. [ABSTRACT FROM AUTHOR]

Forestalling sureties about what constitutes violence and feminism and the relationships between violence and feminism have been significant themes in the work of feminist International Relations theorist Marysia Zalewski. I follow how Zalewski, through her work and work with others including myself, interrupts well-trodden 'trails' of violence and feminism to open up thinking about both. I consider how her provocative work on violence and particularly feminist violence prefigures and advances cutting-edge critical thought on violence as represented in the 'Histories of Violence' project. What I call her 'palimpsestic' or multilayered and intertextual approach to violence reveals it as not only destructive, but also productive in terms of breaking with deadening conventions. I also consider her conceptualisation of feminist violence as both epistemic and militant over time in relation to some contemporary feminist insurgencies, the kinds of insurgencies that serve as her muses for breaking out of forms of 'secured' feminism and opening space for unbounded feminist thought. Consistent with her insistence that theory (and writing) should provide uncomfortable openings, not comforting foreclosures, I end not with a conclusion about her work, but rather echo her call to resist the kind of 'knowing' that suffocates critical thinking and (re)generative feminist thought. [ABSTRACT FROM AUTHOR]

Due to the expansion of the human issues to the text, various manifestations of emotionality are structured or hidden, unconscious movements and subjective reactions to the world are revealed in the text. The individual becomes the basis for the development of the typology of the emotional images. Such images become public, turn to the carriers of genre, and form narrative matrices. The text becomes a particularly sensitive field, a tuning fork, which allows the readers to correlate their own emotions with previous, already experienced, and tested literature. Endowed with powerful cultural and historical meanings, built up and enriched in the perspective of epochs, emotions become a fluid basis for comparisons of human images at the transcultural and transnational levels. They form the tertium comparationis, within which there are a selection and birth of new images of emotion, and thus, the properties of artistic writing, measurements of the sensibility of the text to extraneous trends and inclusions, modern approaches to the interpretation of the tradition. As a result of this longevity, the world of emotions is internalized into history as a memory of the past, which lives in the present and has its internal temporality and cultural stage. However, there is always a constant "theoretical" excess in the variety of manifestations of sensibility, which serves as the basis for their comparisons, assimilations, and distributions. It has no historical layers; it is the criterion and measure of the meeting of even distant images and models on the border, in the field of tertium comparationis. The study of the emotional world of the work involves correlation with the circulation of ideas, worldviews, and aesthetic forms in the melting pot of culture. In this semiotic device, the theory of cultural transfer is formed. It allows going beyond local comparative studies to the level of globalization expansion of objects of interpretation. The founder of transfer analysis M. Espan' formulated this methodology as the output of literary criticism on the other side of comparative. P. Kulish's prose is a very interesting phenomenon in the context of this theory. The author resorted to a special technique of intertextual interaction, palimpsest as "embedding" and too sensitive attitude to tradition, rethinking at a cultural distance in fundamentally different historical and literary conditions. [ABSTRACT FROM AUTHOR]

Genetic criticism often leads to serendipitous discoveries. 'Mr. Howard's House. CREOLE' is a case in point. This unpublished manuscript dated 4 December 1938, which is held in the Jean Rhys Archive at the University of Tulsa, Oklahoma, is a true palimpsest that testifies to ghostwriting in the literal sense of the word. For one thing, it retains spectral traces of a final draft of Good Morning, Midnight on the back of which it was written, containing nothing less than the only extant fragments from the manuscript of Jean Rhys's fourth novel. But it also holds the most primitive trace of Wide Sargasso Sea, namely Antoinette's dream at the end of Part I. Thus, it does expose the writer at a crossroads, trying to let go of Good Morning, Midnight while having the earliest intimations of the first Mrs. Rochester. And it also carries within itself the seeds of some of Rhys's later works. With the help of the avant-texte, we shall examine in what ways all these texts interact and overlap, and to what extent 'Mr. Howard's House' may act as a template for understanding Jean Rhys's creative process as a whole. [ABSTRACT FROM AUTHOR]

Within the frame of a collaboration among the Accademia Nazionale dei Lincei, XGLab-Bruker and ENEA, some of the Renaissance wall paintings decorating Villa Farnesina interiors have been investigated by macro-X-ray fluorescence (MAXRF). In this paper is presented and discussed a case study concerning some sketches discovered about 50 years ago during the detachment of painted curtains. Results have brought to light a palimpsest whose discussion calls into question the attribution proposed when it has been discovered. [ABSTRACT FROM AUTHOR]

Beneath the surface of a theatrical aesthete, Zeami--a fourteenth through fifteenth century nô theorist and dramatist--hid an ambivalent aspiration for the imaginary demonic creatures known as "oni," which represent moral and spiritual defilement. Sarah Dillon's analytical concept of "palimpsest" is instrumental in examining Zeami's ambivalence toward the traditionally imposed playing of the oni. This beastly humanoid is closely tied with the nô players' own disgraced social status of the outcast. Inspired by the nineteenth-century British essayist Thomas De Quincey, Dillon puts special emphasis on the palimpsestuous reading of the past. This mode of reading encourages provocative reinterpretation and even reinvention of the nô players' traditions inherited from their ancestors. Zeami edited and reinterpreted their stigmatized status so as to seek and solidify their own identity. He found the counterpart of the socially defiled oni, that is, the angel. Though opposites, they share a characteristic otherworldliness. This miraculous sharing by opposites might suggest the stigmatized performers' aspiration for the mysterious realm beyond the human world. [ABSTRACT FROM AUTHOR]

The theory and practice of Wikipedia has a common heritage with professional history. In spite of the project being very new, the number and variety of its authors and the ambivalence of academia towards it, Wikipedians have created an encyclopedia that upholds high standards of scholarship and encyclopedism. Simultaneously it provides universal easy access to knowledge. The policies and practices enacted by Wikipedia to achieve these standards are rarely unique. Facing the same challenges that encyclopedists, lexicographers, translators, librarians and archivists have before, it does not achieve a uniformly high standard but it is a new chapter in a very old book. This paper uses Wikipedia's articles to highlight practical means by which historians might engage with the project as a historical source and still maintain professional standards. Discussion pages, several associated paratexts and the statistics demonstrating article popularity are considered. Finally, there is a discussion about how historians can be directly involved in the Wikipedia project – by editing it. [ABSTRACT FROM AUTHOR]

The urban palimpsest is the result of the diachronic juxtaposition and superposition of a series of development models that have determined, more or less, the current street network. As a result of this dynamics, the urban fabric of many cities shows a series of singular street fissures - due to their sinuous, transverse or oblique shapes - that give character and identity to the urban landscape. This paper analyzes - through a GIS and a literature review -the street fissures of the urban palimpsest, taking as a paradigm the city plan of València (Spain). A cataloging of singular street fissures is also carried out according to a taxonomy derived from their structure and functioning. Following the explained methodology, this typology of Street fissures can be extrapolated to any other case study that has adequate maps and literature on its secular urban development. [ABSTRACT FROM AUTHOR]

The atrocities of Nazi Germany included the radical transformation of natural landscapes. At Ravensbrück (Brandenburg), a lakeside setting became the site of the largest women's concentration camp in Germany, processing approximately 159,000 inmates until 1945. Similarly, at Flossenbürg (Bavaria), a picturesque valley in the Oberpfälzer Wald housed a large concentration camp with approximately 100,000 inmates over seven years and a granite quarry to support Hitler's extensive construction programme. After the war, part of Ravensbrück became a Soviet Army base, while large sections of Flossenbürg were removed to make way for a new housing and industrial development. Along with other former camps (particularly Auschwitz-Birkenau), parts of these landscapes were developed into memorial sites that aim to provide a liminal experience for visitors – a 'rite of passage'. In attempting to regain a sense of place that evokes the trauma of the past, the landscapes of the memorial sites of Ravensbrück and Flossenbürg were recently altered to resemble their appearance in 1945. For visitors, however, the aesthetic experience of these landscapes lies in stark contrast to the narrative they encounter at both sites; they are surprised to see signs of life, objecting to modernisation at Ravensbrück or the existence of a supermarket next to the memorial site in Flossenbürg. This paper examines the transformative processes of these landscapes and explores how their liminality is constructed, experienced and challenged. Through empirical visitor research conducted at both sites, it provides a critical evaluation of the narrative given to visitors and suggests how these important sites can offer a more engaging 'rite of passage'. [ABSTRACT FROM AUTHOR]

The Molare Rock shelter (S. Giovanni a Piro, Salerno, Italy) is a key site to carry out high-resolution chronological studies in the broader context of Italian Mousterian peopling dynamics. The stratigraphic sequence is to be referred to MIS 5 and is characterized by the presence of a number of thin anthropic levels (often consisting of largely undisturbed living floors) alternated with sterile layers of various thickness. Even if the excavated area covers only a part of the original site, macro-evidence of the spatial organization of the settlement (e.g. position of hearths, structures, etc.) is quite variable through the sequence. However, broader analyses are needed to better understand the archaeological record and to detect continuities or discontinuities related to survival or change of settlement dynamics and economic strategies through time. This paper concerns data from layer 56. This anthropic level is quite thin and was interposed between two thick layers of sterile clay. Its upper part, directly in contact with the overlying clay sediment, can be considered as a living floor. Since taphonomic studies indicated a good preservation state of the anthropic context, we combined lithic technology (implemented by RMU analysis) with the study of spatial distribution patterns of archaeological finds; such an approach allowed us to correlate inner variations of layer 56 with two different “occupational events”, probably separated by a very short chronological gap. The two occupations appear to be characterized by different patterns of space management and use which may either reflect punctuated settlement dynamics or be expression of a continuum. [ABSTRACT FROM AUTHOR]

The article explores the idea of temporality in relation to high-modernist literary representations of London. I claim that the modernist metropolis appears as a palimpsest whose memorialising function is upheld by techniques such as fragmentation, citation, myth, allegory, intertextual references or allusions, which question the stereotypical relationship between then and now, subject and site. It does so by deconstructing traditional temporal sequences and by foregrounding a subtle connection between past and present. Thus, the modernist city will be considered as a space of transformation in which the substantialness of space and subjective time translates the elusive meaning of contemporary history. [ABSTRACT FROM AUTHOR]

This study presents a constructivist grounded theory study of curation and biopiracy of the San people's knowledge about Hoodia. The "discoveries" and records of the Hoodia species by Carl P. Thunberg, Francis Masson, as well as the recorded experience of Rudolf Marloth, led to scientific experiments and commercial trials in an attempt to develop slimming drugs. This study has identified key layers and knowledge domains that have added new layers of information and knowledge to traditional knowledge concerning the use of Hoodia for medicinal purposes. The study traces the movement of Indigenous knowledge from the San to the CSIR, from CSIR to Phytopharm, Pfizer and Unilever, through the licencing of a patent on Hoodia. An emergent theory based on the concept of palimpsest suggests that erasures of the existing traditional knowledge occurred as new layers of knowledge were added or applied. [ABSTRACT FROM AUTHOR]

The Oscurusciuto Rockshelter (Ginosa, Southern Italy) is a perfect sample-site for the reconstruction of multiple aspects of the last Neanderthals life. Different settlement strategies are attested in the excavated portion of the stratigraphic sequence, dated between ~ 55 and 43 ka BP. As a first goal, the reconstruction of the site spatial organization across the palimpsest SU 11 was achieved by a high-temporal-resolution approach (assisted by sedimentological analysis), integrating lithic technology, zooarchaeology and spatial analysis (by means of the GIS technology). As a second goal, a diachronic perspective was adopted by comparing results from SU 11 with the previously studied evidence from the underlying SU 13. Results were processed at a diachronic scale, highlighting similarities and differences related both to the type of activities carried out at the site and to their spatial management. This allowed us to recognize discontinuities and, especially, continuities of settlement dynamics, which can be related to phenomena of cultural transmission hinting to a “memory of places”. Such results stimulate the debate not only on the necessity to study Middle Palaeolithic contexts at different temporal scales but also on the necessity to develop more refined multidisciplinary analytical protocols. The study of settlement dynamics at high-resolution scales allows to take advantage of the potentialities of contextual analysis i.e. the integration of results from different disciplines and data from the whole range of archaeological evidence in order to reconstruct solid behavioural models. [ABSTRACT FROM AUTHOR]

The adaptability of stories helps ensure their survival in the popular consciousness and fairy tales in particular exhibit this characteristic. The numerous retellings, reinterpretations and recreations of these beloved tales ensure that they endure to enchant a new generation. One such fairy tale which continues to lend itself to adaptation is J.M. Barrie's elusive creation, Peter Pan. Kurtis J. Wiebe and Tyler Jenkins's graphic novel, Peter Panzerfaust (2012-2017), is one of the most recent retellings of this beloved tale, and forms the focus of this chapter. In this story, Peter is removed from the fantasy of make-believe and transposed onto the realistic historical setting of wwii. I consider various instances throughout the graphic novel that have appropriated Barrie's elements from the Peter Pan story and reinterpreted and recreated these elements to suit not only the historical wartime milieu, but also the graphic novel as new medium. Hutcheon's adaptation theory and how adaptations are a form of palimpsest will form the basis for interpreting the interplay between the Peter Pan story and the graphic novel through the analysis of features such as dialogue and imagery (particularly that of Peter Pan) thereby showing that through this process of recreation and reinterpretation of the original text, this graphic novel can be seen as a successful adaptation. [ABSTRACT FROM AUTHOR]

This essay discusses the contributions of theater director Liuba Cid and Cuban theater company Mephisto Teatro, highlighting the group's Afro-Caribbean adaptation of Fuenteovejuna (2009). Cid interweaves elements of Cuban culture into Lope de Vega's baroque verse, incorporating the works of romantic poet José Martí, playwright Virgilio Piñera, and African-inspired religious rituals. More broadly, Cid's play reflects ongoing social processes of transculturation. The theories of Linda Hutcheon, Diana Taylor, and José Quiroga all elucidate how Mephisto Teatro's staging transforms Fuenteovejuna into a syncretic work of art that transcends national and regional boundaries as it brings to the fore transnational movements and global struggles involved in efforts to reverse processes of cultural destruction and social inequality. [ABSTRACT FROM AUTHOR]

This paper illustrates the significance of the palimpsest as a conceptual and representational tool to analyze urban transformations over time. Focusing on urbanization in Mumbai, India, this paper examines the growth of the service sector through the re-shaping of an urban periphery. Based on qualitative field-based research for ten months in 2015–16, I examine how Malad, formerly a periphery dotted with fishing villages became a service sector hub, and an area epitomizing Mumbai's urban modernization. Through a series of collages, I illustrate changes in Malad's urban morphology resulting from a long history of colonial and postcolonial land transactions that facilitated infill and land reclamation, and their acceleration since the 1990s. The layers of the palimpsest make visible the environmental and livelihood damage in the form of toxicity, reduced fish availability and loss of other environmental resources, otherwise absent in the dominant narrative surrounding Malad's transformation. Through the palimpsest, embodied environmental associations of livelihood and loss are uneasily juxtaposed with narrower neoliberal conceptions of sustainability that frame service sector development. I show how the palimpsest as an analytic can represent the power nexus embroiled in transforming urban environments with repercussions on urban ecological systems and erase embodied associations of indigenous communities. [ABSTRACT FROM AUTHOR]

This article draws on an artistic presentation using audio, visual and live artistic elements to explore theodicy through the twenty-two plates for the Book of Job of William Blake dating from 1821 or 1822, Vaughan Williams’s Job—A Masque for dancing and a song by June Boyce-Tillman drawing in the Wisdom theology of William Brown. It will use the image of the palimpsest as a metaphor for an artist’s creative process. This starts with de Quincey’s (1998) work on art as resurrection, Plato’s and Freud’s (1925) work on memory as a wax tablet, Kristeva’s intertextuality with the distinction between the geno-text and pheno-text (Johnson 1988) and Buber’s (1970) and Williams’s (2018) on art as encounter, which are combined with Koestler’s (1964) work on the incubation phase in the creative process (Wallas 1926). It will examine the different possibilities and limitations of various art forms. Blake, influenced by Swedenborg and Boehme, used the story to construct a symbolic universe in line with his thinking about the important role of the imagination in the spiritual search, limited for him by the new natural sciences and traditional religion. These illustrations were taken up by the composer Vaughan Williams as the basis of Job—A Masque for dancing— from 1931, of which pieces were played in the presentation, such as Satan’s Dance of Triumph and the Pavane of the Heavenly Host. The work of William Brown in Wisdom’s Wonder (2014) was also included in the thinking behind June Boyce-Tillman’s Forgiveness Song (2018), which is set out to show how the artistic sources were reworked in a new way that allows the former artworks to shine through. The article intertwines theodicy in Job with explorations of the complex nature of the creative process. [ABSTRACT FROM AUTHOR]

The paper studies change and continuity in the urban semiosphere of Kharkiv in the post-Maidan period, focusing on themes such as the interplay of languages, street art, toponyms, and the significance of political, ideological, commercial, and artistic discourses in the urban space. The urban vernacular of Kharkiv is examined via the concept of the palimpsest that helps to expose the process of acceptance or rejection of the past, and to assess how things are remembered and forgotten through the tropes of the old narrative that were scrapped and replaced with new ones. The analysis of the linguistic landscape in this study focuses on a broader, more inclusive set of components that are part of public spaces, such as street graffiti metaphors and reactions to the text on graffiti. Thus, a multimodal approach is essential to provide deeper meanings and interpretations of public spaces. To examine the complex linguistic landscape, I bring together a representative collection of public signage that mirrors the dynamics of different historical, linguistic, and ideological factors that shape the contemporary Ukrainian identity, along with the too obvious and simultaneous presence within it of markers of the collective identity from the Soviet period. The juxtaposition of overlapping narratives provides a means to discuss the city's community-building efforts. My paper introduces a few familiar cases of how post-Soviet urban dwellers have shaped social spaces. [ABSTRACT FROM AUTHOR]

Landscape architectonic compositions that draw on the underlying landscape structure can function as a carrier for changing programmes, cultures, processes, etc. Precisely such an explicitly spatial design is required to foster the inclusive city, one that is not only socially just but also sensitive to the environment while allowing for and evoking diverse social and natural processes. The objective of an 'inclusive city' is often related to social issues, which might easily lead to the exclusion of ecological values; the opposite approach may prove equally exclusive. Inclusivity also means creating room for the unexpected. From a design point of view, this requires two underlying attitudes: a willingness to see any design assignment from different perspectives as well as a readiness to create sustainable, flexible and open designs. These two attitudes are inherent to landscape architecture, which traditionally prioritizes the site over the programme, and--because of the long term, timebased condition of the landscape--is forced to think in open-ended designs. In this paper we discuss a selection of graduation projects of the landscape architecture track at the TU Delft in order to illustrate how inclusivity is inherent to a complete understanding of landscape architecture. Four essential perspectives on analysis and design--perception, palimpsest, process and scale continuum--are discussed in order to reveal their capacity to serve as a basis for designing inclusive urban landscapes. [ABSTRACT FROM AUTHOR]

The article invites the readers to approach the city itself as a text of culture. We are to read it alongside other narratives/narrations (literary, artistic, and cinematic) devoted to it. The author traces how Katowice's space has been transmuted into politically- and culturally-charged places, by distinguishing consecutive layers of the palimpsest (Polish village, building patterns of German and Polish times: the old and the new). The foregoing examples allow the author to indicate the traces of conceptions and ideologies reflected by architecture. He also includes some methodological recommendations/tips pertaining to reading the space. [ABSTRACT FROM AUTHOR]

The main aim of the article is to identify key interpretation issues in two texts by Adam Wiedemann. Both texts feature contemporary literary pictures of visits to Venice – the Polish author wrote a short story (Sens życia. Opowiadanie śródziemnomorskie, 1998) and a poem (Tramwaj na Lido, 2015) about his journeys to Italy. Those textual visions of the urban space of Venice show that Wiedemann is fully aware of many similar attempts made earlier yet still strives to stress his distinctness, creating a record of meetings of the contemporary visitor with the unique phenomenon of the unusual urban phenomenon. [ABSTRACT FROM AUTHOR]

In A Theory of Adaptation, Linda Hutcheon posits that adaptations give audiences the best of both worlds: something familiar and recognizable while also presenting something new and unexpected. Media makers can play on audiences' expectations, creating a "palimpsestuous" relationship between the original and adaptive texts. Director Logan Thomas depends on his audience's prior engagement with Charlotte Perkins Gilman's short story "The Yellow Wallpaper" in his 2012 film of the same name. While the film is a clear departure from Gilman's text, acting as the origin story of the author's experience in writing the story, Thomas' reliance on the viewers' familiarity with Gilman is necessary to his larger trans-genre project. Thomas expects that his viewers will expect Gilman's gothic setting, tone, and language and delivers those expectations for much of the film. This palimpsest of genre expectation however becomes a perfect way for him to enhance audience fear when the film turns out to be a horror. Thomas' technique of using the palimpsest against the audience changes his adaptation of a text from one genre to another, revealing the shock that can be garnered from working with popular canonical texts. [ABSTRACT FROM AUTHOR]

Copyright of Estúdio (1647-6158) is the property of Revista Estudio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)