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Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED 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 discusses contextualisation in early modern, mainly English intellectual history, from which 'Cambridge contextualist' history arose. It argues that contextualisation is a ubiquitous aspect of understanding and that historical contexts are unstable historiographical necessities, not features of history. It explores the issues most with reference to J. G. A. Pocock's notions of 'past-relationships' in tension with a sense of historicity, and the 'languages' he considers fundamental to intellectual history. The former provides a valuable analytic vocabulary in and beyond the early modern; the latter are problematic. Discussion of the difficulties leads directly a critique of a conceptual realm as a necessary context for intellectual history. [ABSTRACT FROM AUTHOR]

Copyright of Anales del Seminario de Historia de la Filosofía is the property of Universidad Complutense de Madrid 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.)

Abstract. This article was written to answer a question: what are the similarities and differences, as well as continuity and discontinuity, on the concept of biblical inerrancy according to modern Evangelical thoughts represented by the International Council of Biblical Inerrancy (ICBI) which formulated the Chicago Statements of Biblical Inerrancy (CSBI) and its supplementary documents compared to the views of pre-modern Christian thoughts or the Church Fathers. This comparison was made to seek the construction of a (more) proportionate articulation on the doctrine of biblical inerrancy. In fact, the differences between both of them are not essentially related to the terminology problem, but rather show different metaphysical, epistemological, hermeneutical preconpositions, and different justification criteria for the validity of the Scripture. The Church Fathers emphasized Scripture as a spiritual and supernatural text so there was no need to always prove its validity historically and factually, while modern Evangelicals that emphasized the harmony of God's revelation with human knowledge emphasized the dimension of accuracy and historicality as the basis for their concepts on biblical inerrancy. Abstrak. Artikel ini ditulis untuk menjawab sebuah pertanyaan: apakah persamaan dan perbedaan, serta kontinuitas dan diskontinuitas, dari konsep tentang ineransi Kitab Suci menurut kelompok Injili modern yang direpresentasikan oleh International Council of Biblical Inerrancy (ICBI), yang merumuskan Chicago Statements of Biblical Inerrancy (CSBI) dan dokumen-dokumen pelengkapnya, dengan menurut pandangan kelompok Kristen pra-modern atau Bapa-bapa Gereja. Komparasi ini dilakukan untuk mencari konstruksi doktrin ineransi yang (lebih) proporsional bagi kalangan Injili masa kini. Pada dasarnya, perbedaan di antara kedua kelompok tersebut bukan berkaitan dengan problem terminologis, tetapi lebih menunjukkan perbedaan metafisika, epistemologi, prasuposisi hermeneutika, dan kriteria justifikasi yang berbeda terhadap kesahihan Kitab Suci. Bapa-bapa Gereja lebih menekankan natur Kitab Suci sebagai teks spiritual dan supranatural sehingga tidak perlu selalu membuktikan kesahihannya secara historis-faktual, sementara kelompok Injili modern yang menekankan keselarasan wahyu Allah dengan pengetahuan manusia lebih menekankan dimensi akurasi dan historisitas teks sebagai basis ineransi.

The article deals with the destruction of the widespread myth about Karl Marx as a “Promethean thinker”. Under Prometheism/Prometheanism is the point of view according to which nature is considered as a quantitatively “inexhaustible storehouse”, which must be known and conquered on the basis of scientific and technical knowledge in order to be used to meet constantly growing human needs through continuous growth of production and, accordingly, a permanent increase in the degree of aggressive exploitation of nature while completely ignoring the consequences of this exploitation both for the environment and for human society itself. Since the myth of the “prometheanism” of Marx, which is very tenacious to this day, was previously dispelled in the field of political economy (J.B. Foster, K. Saito, P. Burkett), sociology (A. Salleh, M. Musto), ecology (B. Clark, J. Moore, E. Alvater, K. Saito, T. Grassmann), political science (K. Royce), then in the proposed study the author focused only on some of the philosophical aspects of the problem. In the first part of the article it is shown that Marx (based on some of his statements) is mistakenly criticized by many thinkers for anti-environmentalism; in the second, relying on the texts of Marx himself, it is proved that these fragments torn from the general context of his philosophy are mostly false, because Marx, often praising technological progress, nevertheless, was not a Promethean, as he subjected the social and environmental consequences of the capitalist application of technology and science to radical scientific criticism; Finally, in the third part, through the reconstruction of Marx’s philosophical-anthropological and socio-philosophical ideas, Marx’s true attitude to environmental issues is shown. The author’s arguments are as follows. According to Marx, the ontological basis for the existence of any human society is social metabolism, i.e. the exchange of substances between man and nature through transformative activity, during the deployment of which all the “worlds” in which man exists are drawn into metabolic exchange (nature, society, “second nature” – material and spiritual culture, the world of others, their own inner world). Each socio-historical stage of development has its own specific type of metabolism, i.e. its own special form of ecological interaction between all “worlds”. Based on this method, Marx shows that metabolic rifts, i.e. disturbances in the processes of normal, balanced flow of social metabolism in the totality of all these “worlds” are most characteristic of capitalism due to its structural Promethean intentions (the desire to increase profits, which is associated with the need for permanent growth of production – the imperative “grow or die!”; and hence to increase the exploitation of nature). And in this sense, Marx’s philosophical ecology not only fully corresponds to the modern level of understanding of ecological/environmental problems, but also offers a holistic methodology not only for “explaining” these problems, but also for their “practical solution”.

Arthur C. Danto’s philosophical study of history is overshadowed by his more famous texts in the area of the philosophy of art. In the current discussion on the philosophy of history it follows then that the thematization of Danto’s conception of narrative and narrative sentences predominates. The author of this article instead focuses on the retrospective character of the uncovering of the meaning of historical events by Danto and argues that not the only the meaning of the given events is historically conditioned, as Danto claims, but also the narrative through which the significance is communicated. Although Danto does not address this problem, this study aims to show that this thesis is consistent with his philosophy. Narratives and historical texts in general are representations in Danto’s sense of the word, and all representations are, in their essence, also historical. This fact is clearly revealed in Danto’s texts about art, and it is on these that the author’s argument is based.

This article presents the political theory proposed by Augusto Comte, also indicating his historical inspiration, in theoretical, political and epistemological terms. For Comte, knowledge is historical, in the sense that a cumulative theoretical and methodological elaboration is required so that reality can be known; on the other hand, sociological theorization requires the understanding of this historicity, which results in an epistemological and political relativism. These elements, among others, support the Comtian republicanism, understood as a human, secular, rational and altruistic regime. The republic is the regime that enshrines the common good and is the political realization of “sociocracy”, the social organization proper to positive modernity. The article has a theoretical character, based on direct consultation with Comtian texts and on secondary interpretative literature.

The article examines the representation of the global phenomenon in the discourses of modernity and metamodernity. In the domestic reception, metamodernism is often represented as post-postmodernism. A significant discrepancy in assessments of a fairly integral phenomenon of modern philosophy of culture, which is metamodernism, can be explained. The methodological guidelines of metamodernism are still in development. Theorists of metamodernism continue their search, the establishment of interaction between postirony, authenticity, new sincerity, depth, historicity, aff ect, selfhood, and superhybridity. In this regard, the analysis of the methodology of metamodernism is possible not only by studying its individual attitudes, but by referring to the foundations of the metamodern discourse. Highlighting the key models of the global in the discourses of modernity and postmodernity allowed us to assess their representation in the metamodern program. The philosophy of modernity is characterized by the idea of the global as the idea of the history taken outside of it (G. Hegel), as the idea that is formed in the process of history (K. Marx). Postmodernism reduces these models to the level of simulacra. The distinction of the local is characteristic of postmodern deconstructivism. Metamodernism in its research practice combines the discourse of the global and the local, off ering options for the return of history to human life.

The subject of this paper are historical stories of Stevan Sremac. Their artistic value lags behind the value of his realistic prose. Bearing in mind the style of the writer's historical narratives, it is concluded that the writer's primary motive in writing was "national-educational action" and not literary creativity. Following the trail of legends and traditions, the author neglected historical facts, which resulted in artistic inconclusiveness. Stevan Sremac tried to balance historical facts with artistic vision and legends.

Copyright of Geopolitica(s): Revista de Estudios Sobre Espacio y Poder is the property of Universidad Complutense de Madrid 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 article compares the work on the basis of the original novel "Navoi" published in 1944 by the famous Uzbek writer Musa Tashmuhammad Aibek and the English translation by I. Tokhtasinov and O.Mominov. Since the novel was translated into English from Russian, the Russian translations of M.Sale in 1945 and P.Slyotov in 1946 were also studied. The work was translated into French in 1948 by the French translator A.Oran. The French version is also studied in a comparative analysis. [ABSTRACT FROM AUTHOR]

This paper discusses Abide-i Hürriyet as a place of memory. The subject is the construction, reshaping and reproduction of the monument. The place has been an implement for remembering or forgetting for every political power it is the object of. Remembering or making one forget as the socialization of memory means experiencing the space constructed by power. Experience a place is both participatory and exclusionary. Abide expresses a historicity in which we can follow these experiences. Monument's authenticity highlighted certain moments. These moments, from the 1908 Revolution to Turkey, have been the moments when the political power took decisions and was forced to take decisions about place. The funeral of Mahmut Şevket Pasha, the transfer of the bodies of Talat Pasha in 1942, of Mithat Pasha in 1951, and of Enver Pasha in 1996 to Hürriyet Hill are moments that reconstruct the place. As the burials of the historical identities of the revolution were moved to the shadow of the monument, a timeless historical block emerged. The historical block is the continuity between those who construct the place and those who shape it. This study discussed Abide-i Hürriyet as the symbolic place and pursued its spatial existence. [ABSTRACT FROM AUTHOR]

Copyright of Cumhuriyet Ilahiyat Dergisi / Cumhuriyet Theology Journal is the property of Cumhuriyet Universitesi, Ilahiyat Fakultesi / Cumhuriyet University, Faculty of Theology 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.)

Axel Sommerfelt's paper for the symposium organized by Fredrik Barth ahead of the publication of Ethnic Groups and Boundaries is given a broader readership in this issue. This biography provides some background to the perspectival differences between Axel Sommerfelt and Barth, that revolve around issues of political inequality, experience and historicity. Axel Sommerfelt shared Barth's anti-essentialist view on ethnicity, but did not fully embrace the instrumentalist underpinnings of Barth's perspective. He was theoretically influenced by the Manchester school, and directed attention to political domination from the point of view of the dominated, a focus that grew out of his ethnography from Ruwenzori in Uganda. Judicial institutions constituted an important arena for the negotiation of ethnic boundaries, and specifically, Toro-Konzo relations were partly shaped in judicial contexts that Toro controlled, under British protectorate supervision. His interest in resistance was also influenced by his upbringing in Norway during Nazi occupation. [ABSTRACT FROM AUTHOR]

The article explores the implications of Giorgio Agamben's The Man Without Content for beliefs necessary to visual art practice. It examines in particular Agamben's critique of Kantian aesthetics and the use he makes of ideas of historicity. While Agamben has controversial but sometimes insightful and persuasive things to say about the modern art world, specifically aspects of making, spectating and exhibiting, his reading of Kant is distorted by his adoption of a technique of neutralising dialectical oppositions, and then his determination to find in key texts the grounds for this operation. At times Agamben's critical judgements, uncorrected by the perspective of practice, are indiscriminate and insensitive, and it is difficult to see how his politics escapes quietism or apathy on the one hand or an unwitting convergence with Kantian notions of moral providence on the other. [ABSTRACT FROM AUTHOR]

In this work, we propose a dialogue about circus activities in social education spaces, from the perspective of popular education. We discussed the significant growth of social movements and their relationship with educational proposals for the popular classes. In these locus, circus bodily practices act as the art of living, as education itself. Therefore, we bring reflections about the circus, its historicity and its practices as a possibility of sociocultural intervention in spaces of non-school education. To do so, we resorted to bibliographical research that enabled us to delve into aspects that mobilize art, culture and sport as symbolic and cultural assets that lead to transformative cultural action and to processes of popular education that enhance circus body practices of circus practitioners. [ABSTRACT FROM AUTHOR]

The present work presents a discussion of a conceptual nature that involves the process of awareness and humanization contained in Paulo Freire's theoretical framework. Having as a central focus the understanding of the teaching practice and its crossings by the Freirian concepts of conscientization, utopia, unprecedented viable and possible dreams. In this sense, the work can be seen as a mobilizer of reflection for those Brazilian educators who experience a popular, liberating and critical educational practice. Methodologically, several Freirian works are used, with the aim of mapping how this educator relates being a teacher with the experience of awareness. It was observed that, for Freire, being an educator means being a "peopleperson" historically situated, who carry for themselves and in themselves projects of society, and education, which are crossed by the fields of possibilities placed in the history of humanity. Faced with this historicity, being a teacher means being to be constantly asked about letting oneself be crossed by the love of living things or the love of dead things. For Paulo Freire, every progressive, liberating educator is, consequently, an educator who, facing the endings of death in a given society, looks for biophilic fissures, fissures that make them experience love for living things. [ABSTRACT FROM AUTHOR]

Over recent years, several publications have drawn attention to the fact that mainstream psychology has neglected cross-temporal variability and the historicity of the human psyche. One of the early proponents of a historical perspective on psychological matters is German psychologist Gerd Jüttemann. Despite his pioneer work and his continued publication efforts from the 1980s until today, his ideas have largely been ignored by the academic discourse, both inside and outside Germany. The question is: Why? Based on a brief overview of his writings, this article argues that it was not (only) a result of Jüttemann being at odds with the zeitgeist, but was also caused by conceptual problems as well as practical obstacles. Understanding why historical psychology remained at the brink of the academic discipline can help contemporary scholars to develop a perspective on the historicity of the human psyche that has a better chance to be heard. [ABSTRACT FROM AUTHOR]

The purpose of this special issue is to critically examine the constructivist moorings of contemporary developmental theory and practice, including the practice of research methods. This introduction to the special issue is intended to foreshadow the papers presented here by charting the terrain of several conceptual commitments that we consider paradigmatic cornerstones to constructivist approaches. Although constructivism has deep roots across disciplines in the sciences and humanities, generating a wealth of scholarship focused on its various assumptions and theoretical principles, here we target three: the active subject, normativity, and historicity. These principles are theoretically axiomatic of constructivist approaches, strongly interconnected, and highly relevant to some of the most pressing debates and challenges affecting contemporary science and society, not the least because they question fundamental notions that we often take for granted – notions as vital as the meanings of truth, fact, and objectivity. After presenting a primer on the meaning and significance of these three principles, we review their status as critical signposts for the work of scholars contributing to this special issue. [ABSTRACT FROM AUTHOR]

This article investigates the historicity of Gideon von Wielligh's collection of /xam folklore, history, and observational accounts published predominantly in Afrikaans during the early 20th century. Von Wielligh's collection is often portrayed as suspect in relation to the 'great' /xam archive, namely that of Wilhelm Bleek and Lucy Lloyd – with accusations of plagiarism a common charge. Through a holographic archaeological reading, an approach conceptualised by drawing on linguistic archaeology and philology specifically, and the holographic paradigm and archaeology of knowledge in general, the article analyses the traces of /xam in Von Wielligh's otherwise Afrikaans texts. The reading focuses on Von Wielligh's texts on the one hand and Specimens of Bushman Folklore (1911) on the other. Since Specimens was the only selection from the Bleek and Lloyd archive to which von Wielligh had access when he published his collection between 1919 and 1921, it is, within holographic archaeological terms, the 'urtext' or 'source of certainty'. In contrast, von Wielligh's texts are regarded as the 'source of suspicion', with the /xam linguistic data within it 'dated' in relation to Specimens. The analysis leads to the following three conclusions: first, von Wielligh's command of /xam linguistic data validates the authenticity of the collection; second, we can use von Wielligh's recordings to change the idea of the extant /xam archive in a way that challenges the fixation on Bleek and Lloyd; third, the politics of intellectual history, such as the defaming of von Wielligh, is tied not simply to ideas but to the history of the book as a material object. This acknowledgement and changed perspective on the /xam and the available records could, in turn, lead to deeper and more generative research on the /xam specifically, Khoesan studies generally and South (and southern) African studies more broadly. [ABSTRACT FROM AUTHOR]

Recent expansion of alternative frameworks for archaeological interpretation, particularly non-Western ones, provides an opportunity to revisit and challenge orthodox narratives in the discipline. The Melanesian concept of kastom provides a framework to understand contradictions arising from the selective nature of colonial-era culture change. One facet of these transitions is the widespread adoption and integration of Christian beliefs and practices within Indigenous communities. From the 1600 s onwards, European missionaries sought to "convert" Pacific Islanders to Christianity. Much of what is written about religious change in the past is coloured by a Western missionary lens, with active proselytisers transforming existing beliefs and practices amongst the converted. This story is not sufficient, as changes to religion include elements of syncretism and creative adaptation of new beliefs while maintaining the old ways. In kastom, non-linear temporalities and histories experienced in place undermine orthodox accounts of change through time. Kastom provides a stable reference point for malleable histories, while also offering possibilities to craft different kinds of archaeological narratives. [ABSTRACT FROM AUTHOR]

Application of forensic identification methods to establish authenticity of a historical photograph is made. Joseph Smith Junior was the Prophet and founder of The Church of Jesus Christ of Latter-day Saints, often referred to as Mormons. In 1844 Joseph and his brother Hyrum were shot and killed by a mob of angry men who opposed his church and its followers. Shortly after death, Joseph's face was moulded, and a death mask was made. Photography was invented during the life of Joseph Smith Jnr and there are reports that he had a daguerreotype (photograph) taken, but no image has been verified to be of him. A photographic image of an Illinois man from the 1840s is linked by circumstantial evidence, such as similar clothing, to Joseph Smith Jnr and the photographer's studio being close to where Joseph Smith III was at the time the photograph has been produced. A morphological comparison is made between the death mask and the photograph in order to establish the likelihood that the man in the photograph is the prophet. Sixteen points of anatomical similarity were found between the death mask and the photograph, the most compelling of which is asymmetry of the face and a possible scar in the area of the left eyebrow. Superimposition confirmed morphological similarity. Finding of close morphological similarity is not an ultimate proof of identification, but increases the probability that the photograph depicts Joseph Smith Junior. This is the first case of an anatomical comparison between a death mask and a photograph. [ABSTRACT FROM AUTHOR]

In the past few years, we have seen emerging new work that brings into focus the role of historical change and its moral implications in Iris Murdoch's philosophy. This paper strengthens this reading of her work and investigates the implications of this aspect of Murdoch's thinking for education in general and for moral education in particular. It resituates the Platonic imagery of the individual's ascent towards the true and the good in a framework where our conceptions of the true and the good are in a process of historical reconfiguration. [ABSTRACT FROM AUTHOR]

In recent years, a new scholarly gaze has been cast on four women‒Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch‒who have come to be known as the 'Wartime Quartet'. During the postwar period, when women were still scarce in the discipline, these four flourished as philosophers. New details about their wartime education give us materials to reflect on what enabled them to develop their unique philosophical voices. Their work dispels widespread philosophical dogmas, especially scientistic interpretations of naturalism that exclude value from the fabric of reality. Through their attention to the details of ordinary life, they avoid flattening the complexities of moral learning, especially where this involves navigating intergenerational differences. The articles in this Suite look to the Wartime Quartet's writings and learning conditions to show that, far from being of purely historical interest, they shed fresh light on the aims and challenges of moral education and offer a critical perspective on current pedagogical practices‒particularly in the teaching of philosophy. [ABSTRACT FROM AUTHOR]

Copyright of Social Anthropology / Anthropologie Sociale is the property of Berghahn Books 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 paper examines the concept of the world elaborated by Heidegger in the early Freiburg lecture courses of the years 1919 to 1923, in which he proposes a renewed conception of phenomenology through a comparison with Husserlian phenomenology. First, I show that although the theme of the lifeworld became central only in late Husserlian works, especially in The Crisis of European Sciences, Husserl began to deal with this concept before 1920, anticipating some fundamental issues of the Crisis, as it results from the lectures of 1919 on Natur und Geist. Husserl had addressed the concept of the world already in the lectures of 1910/11, The Basic Problems of Phenomenology, and, subsequently, in the second book of Ideas, which was published posthumously, but which was known to the young Heidegger. Then, I discuss the way in which Heidegger revisited the issue of the world in the early Freiburg lecture courses by means of a critique of Husserl's analysis, focusing on perceptual experience as "environmental experience" and on the "world-character" of life. Particular emphasis is placed on the distinction between "environing-world," "with-world," and "self-world," which Heidegger introduces in the lectures of 1919–1920. Finally, I point out that the Heideggerian rethinking of the concept of lifeworld is closely connected to the recognition of the immanent historicity of life, while Husserl only later takes into account the historicity of the lifeworld. [ABSTRACT FROM AUTHOR]

The article focuses on informative examples what can be understood by "village series", which often integrate elements of other formats and series "The Village." It mentions picture is conveyed of the village as a place of specific sociability and historicity and transnational interrelations between series production and their distribution underlie the new format. It also mentions entertaining early-evening series "Doc Meets Dorf."

Copyright of Retos: Nuevas Perspectivas de Educación Física, Deporte y Recreación is the property of Federacion Espanola de Asociaciones de Docentes de Educacion Fisica 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.)

Focusing on early twentieth-century Punjab, this article considers how situating the region into historical context circumscribes the literary by tying it to place, thereby creating a seamless economy of exchange. In contrast, noting the refusal of literary and artistic output to be adjudicated into context, this article asks, Is it possible to consider the encounters within the Punjabi literary and artistic scene through a dislocation rather than a circuitous exchange within a singular Punjab? The author ponders this question by considering how analyses centered on exchange are unavoidable when situated within historicity—analyses that emerged in the colonial period as a central way to understand Sikh literary production. Such a grasp on Punjab, the Sikh tradition, and historicity, however, is loosened when we consider the nonhuman. The nonhuman, in other words, challenges the overt focus on history, conquest, and vision that undergirds our understanding of the Punjabi literary scene by functioning as an impediment to mediation, translation, and recognition. The focus on the nonhuman is not to offer a more robust or precise recognition to Punjab but to disarticulate the very contours of recognition through a focus on the eye. [ABSTRACT FROM AUTHOR]

Peter Ackroyd's historiographic metafictional novel Milton in America (2006) entails a critical return to history – critical in the sense that it questions the essence of historical knowledge and revisits the past in order to comment on the politics of national identity. Beneath a façade of historicity, the novel explores the continuity of English cultural identity and narrates a fictional story that centres on the conflict of Catholicism and Protestantism in the context of post-Restoration emigration of Puritans from England to New England. The "old faith", although marginalized, continued to exist in post-Reformation England. The novel ties the significance of Catholicism to a thorough sense of Englishness. Catholic faith is shown as an ancient anchor of English identity. Peter Ackroyd delves into the collective memory of his race in search of a sense of commonality, believing in the continuity of English national identity. Challenging humanist assumptions about historical authenticity, the novel calls into question the idea of religious homogeneity, offering a different narrative as equally valuable. [ABSTRACT FROM AUTHOR]

In this paper we offer a preliminary framework that highlights the relational nature of solo music-making, and its associated capacity to influence the constellation of habits and experiences one develops through acts of musicking. To do so, we introduce the notion of extended musical historicity and suggest that when novice and expert performers engage in individual musical practices, they often rely on an extended sense of agency which permeates their musical experience and shapes their creative outcomes. To support this view, we report on an exploratory, qualitative study conducted with novice and expert music performers. This was designed to elicit a range of responses, beliefs, experiences and meanings concerning the main categories of agency and creativity. Our data provide rich descriptions of solitary musical practices by both novice and expert performers, and reveal ways in which these experiences involve social contingencies that appear to generate or transform creative musical activity. We argue that recognition of the interactive components of individual musicking may shed new light on the cognition of solo and joint music performance, and should inspire the development of novel conceptual and empirical tools for future research and theory. [ABSTRACT FROM AUTHOR]

A short survey is conducted on the “architectonic” concepts lying behind the variety of Montaigne’s essays. This, according to the paradigmatic scheme for movement from the subjective (Spirit) through the objective (space) and their culmination into historicity (fate). Some elements of nominalism and pragmatism are being identified, along with elements of representationism in the field of epistemology. Special attention is drawn to the spatial characteristics of human emotional life according to the author, as well as to his ideas that supposedly stand close to deism and stoicism. [ABSTRACT FROM AUTHOR]

Copyright of Nouvelles Perspectives en Sciences Sociales is the property of Editions Prise de parole 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.)

Xinjiang has witnessed constant state attempts to reinforce the status of Mandarin Chinese as 'the Common Language' and to make local Turkic languages – mainly Uyghur and Kazak – more 'suitable' to the modern world. Official efforts to transform the linguistic landscape of Xinjiang have engaged in a complex interplay with Turkic speakers' own understandings of speaking, writing, and modernity across China and Central Asia. While tacitly subscribing to the dominant language ideology that Chinese is more useful, practical, and suitable for the modern world, Turkic speakers in Xinjiang also take pride in their languages. Especially since the government-initiated script reform in the early 1980s, the Arabic scripts' indexical association with literacy and Islamic identity has become stronger than ever for people in Xinjiang. Today, the Arabic script is not only an index of ethno-religious identity, but also an artistic expression. Thus, to many Turkic speakers in Xinjiang, Chinese is merely a language of mundane concern, whereas Turkic languages are the medium of aesthetic elaboration such as oral poetry and epic stories. This paper demonstrates that attention to such historical particularities helps us better understand how certain language ideologies can remain unchallenged while others are easily contested. [ABSTRACT FROM AUTHOR]

In 2011, a 5,000-year-old "male" skeleton buried in a "female" way was discovered by an archaeological team just outside of modern-day Prague. This article queries the impulse to name such a discovery as evidence of transgender identity, and bodies, in an increasingly ancient past. To do so, it takes up the work of Denise Ferreira da Silva, Sylvia Wynter, and Hortense Spillers as a means to push back against the impetus to name such discoveries "transgender" in order to shore up the legitimacy of contemporary trans identity. Each of these three thinkers offers a different vantage point for rethinking such naming practices that push the reader to consider how desires to name and place "transgender" in a distant past papers over the violence of plantation slavery, global imperialism, and the Enlightenment's shift toward scientific reason. This article argues not that such anthropological discoveries should not be considered transgender, but rather that the desire for them to be, or become, transgender does not legitimate contemporary transgender identity, and may instead treat certain iterations of transness as spatially and temporally universal. [ABSTRACT FROM AUTHOR]

Johann Klaj's Engel⸗ und Drachen⸗Streit (1649) takes an intermediate position in his literary work between the depiction of war and peace poetry: in this 'Schulactus', a biblical subject is combined with the historical context of the recently ended Thirty Years War and used for an eschatological interpretation of war. At the same time, the 'Schulactus' performs a secular transfer of these interpretive patterns in the context of the peace ceremonies, which is due to the representative functions of his recitational practice, revealing the institutional as well as politico-religious integration of literature. Examining the text, paratext and the historical context of presentation, this contribution elaborates how knowledge is created, transmitted and represented as well as combined with a negotiation of power in discourses and practices of the early modern period. [ABSTRACT FROM AUTHOR]

By juxtaposing two ostensibly divergent characters, the Jewish art historian and Egyptologist Hedwig Fechheimer (1871–1942) and Soviet filmmaker and theorist Sergei Eisenstein (1898–1948), this paper investigates how both approaches folded time, creating Cubist chronologies. Fechheimer adapted the philological focus of her Berlin School contemporaries to create an ahistorical, anti-teleological grammar of ancient Egyptian art which espoused an artistic affinity between the Egyptians and the Cubist movement. Eisenstein, who held a copy of one of Fechheimer's books in his personal library, took a similar approach in the development of his critiques of historical allegory. This paper looks specifically at two shots of a sphinx during the bridge sequence in the 1927 film October to demonstrate how they correspond to Fechheimer's views on Egyptian art and also function peculiarly within the film. Ultimately, I aim to demonstrate how the interpellations of the sphinx demonstrate a particular critique of historicity that Eisenstein later expands upon in his Ivan the Terrible films. [ABSTRACT FROM AUTHOR]

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