Search

The transgressive narratives of Rajasthani Folklorist Vijaydan Detha's folk literary corpus has embedded innumerable patterns of socio-cultural and domestic sensibilities. Folktales are at once fictional but communal, their meanings therefore expose discourses of folk understanding. Vijaydan Detha's folktales are domestic in the nature of the plot as well as in their sources. Such tales have been circulated and collected by Bijji (Vijaydan Detha) from women of Borunda. As such, tropes of domestic villainy and familial relations are prevalent. The methodology of such tropes of violence and evil is, however, as transgressive as Bijji's folktales. In the present research we trace such characters and their relations that are villainous towards other characters. A set of women antagonists, i.e., vamps can be characterized who embody indirect relations to the victims, and eventually display apparent villainy and violence. Four folktales of Detha are studied in the present research to uncover specific patterns, tropes and character traits. The idea of domestic space and women antagonists in the presence of other characters reveal an ingrained sense of family relations between a woman and her husband's family. [ABSTRACT FROM AUTHOR]

The present research aims at identifying any changes in the market appreciations of the residential segment in Italy caused by the COVID-19 pandemic. With reference to the first half of 2023 (phase III, "post-COVID-19"), in the paper, a logical–operational methodology is implemented: a sample of properties sold in the two-month period January–February 2023 is collected and an econometric analysis is applied for determining (i) the most influential factors on selling prices and (ii) the functional links between prices and each selected explanatory variable. Furthermore, the findings obtained are compared with those related to the phases I, "ante-COVID-19", and II, "COVID-19 in itinere" (by recalling a previous study of the same authors), to highlight the variations between the periods and provide useful guidelines for the design of domestic spaces in different Italian geographical contexts. In addition, this work conducts a comparison of the outputs derived from the econometric analysis starting from the real estate data collected on the reference markets (revealed preferences) with the results of a direct survey carried out on a sample of individuals through the administration of an ad hoc developed questionnaire and aimed at investigating the opinions of potential buyers of residential properties (stated preferences). The use of the "twin" approach (an analysis of perceptions via the direct survey integrated by the implementation of an econometric technique) allows us to verify the consistence of the real dynamics of market (expressed by the interviewees) with the mathematical model results for investigating the house-scale effects of the COVID-19 pandemic in the considered cities. [ABSTRACT FROM AUTHOR]

This paper explores the decorative styles of three dwellings in the English-style neighbourhood of Thames Town, located in the new city of Songjiang on the outskirts of Shanghai. These interiors, all characterised by eclecticism and the co-presence of many elements attached by the inhabitants to Western cultural universes as well as to the Chinese history, question the contemporary ways of living of a part of the Chinese population, as well as cross-cultural representations and forms of interaction between China and the West. The analysis of the decorations makes it possible to apprehend - through the materialisation (or objectification) as a specific mode of expression of the domestic universe - the forms of hybridised cultural production, spatial appropriation of living spaces, as well as the processes of individual and collective identification and organisation of social relations. [ABSTRACT FROM AUTHOR]

This article examines the impact of home-based business on spatial changes and architectural transformation in old apartment buildings, locally called Chung Cu, an under-studied housing typology in Ho Chi Minh City (HCMC). This article elucidates how looking into local ideas and practices of domestic spaces with home-based businesses can broaden existing scholarship on home culture. The term 'home-based business' is used in this article to describe commercial and business activities run by local residents in their homes. This article analyzed and presented first-hand data in both textual and visual forms and suggests that given the historical and social changes, particularly since the 1960s, the resilience, and persistence of home-based business, as a constituent of local life in HCMC, have significantly contributed to the making and transformation of domestic spaces in the city. [ABSTRACT FROM AUTHOR]

With the increasing rise of the Internet, as well as the democratization of technology, people’s pursuit of entertainment and visual stimulation inspired countless new types of creativity. Social media fanatics have surged a myriad of content-creating works that brought this creativity to the forefront; this phenomenon has transformed everyday spaces into settings or backdrops for new narratives. The everyday domesticity we inhabit, such as bodies, activities, objects, furniture, and rooms, have all been involved in the process of creation and work, and these spaces can be described as Everyday Theater. The term scenography is of Greek origin, skēnē, meaning hut or tent, in the theater of ancient Greece, it is a light structure usually at the back of the stage, but over the course of time skēnē underwent fundamental change. The core concept of scenography is the narrative. This core remains even though it is now given a new meaning, as everyday life has become a stage for a new kind of spectacle. In other words, the conventional domestic spaces are re-invented as a setting for new personal narratives and commercial venues. In this context, the domestic spaces have been transformed into a platform, where the performers use their surrounding elements, objects, spaces, homes, and environments as settings for their own narrative. The goal is to create an immersive experience that captures the audience’s attention and transports them into a world that is both familiar and extraordinary.

The present research aims at identifying any changes in the market appreciations of the residential segment in Italy caused by the COVID-19 pandemic. With reference to the first half of 2023 (phase III, “post-COVID-19”), in the paper, a logical–operational methodology is implemented: a sample of properties sold in the two-month period January–February 2023 is collected and an econometric analysis is applied for determining (i) the most influential factors on selling prices and (ii) the functional links between prices and each selected explanatory variable. Furthermore, the findings obtained are compared with those related to the phases I, “ante-COVID-19”, and II, “COVID-19 in itinere” (by recalling a previous study of the same authors), to highlight the variations between the periods and provide useful guidelines for the design of domestic spaces in different Italian geographical contexts. In addition, this work conducts a comparison of the outputs derived from the econometric analysis starting from the real estate data collected on the reference markets (revealed preferences) with the results of a direct survey carried out on a sample of individuals through the administration of an ad hoc developed questionnaire and aimed at investigating the opinions of potential buyers of residential properties (stated preferences). The use of the “twin” approach (an analysis of perceptions via the direct survey integrated by the implementation of an econometric technique) allows us to verify the consistence of the real dynamics of market (expressed by the interviewees) with the mathematical model results for investigating the house-scale effects of the COVID-19 pandemic in the considered cities.

This paper addresses the potential for using childhood memories shared on social media as a means of interrogating experiences of twentieth-century social historical geographies of home and family life. In so doing, the paper discusses briefly the value of children's perceptions as guests in others' homes as an insightful source of data, before exploring the value of social media as a place for sharing these recollections and accessing them as a researcher. The paper draws data from a thread on the popular UK-based parenting website and internet discussion space, 'Mumsnet', asking contributors to share the 'weirdest' thing they saw at someone else's house when they were a child. This paper positions social media research as an ethically, epistemologically and ontologically sound approach to creating data for geographical research, which has become well-established in other sub-disciplines. The paper seeks to explore what it is to remember intimate childhood experience alongside those whose memories might reflect or conflict with your own. Further, the paper addresses the way in which a social media thread created new narratives and uncovered long-buried memories which provide an insightful lens for exploring a particular domestic historical geography. [ABSTRACT FROM AUTHOR]

Despite the publication of three books directly addressing the intersection between text and visual artworks — Fishing for Amber (1999), Shamrock Tea (2001), Still Life (2019) — Ciaran Carson’s work has not been given significant attention in terms of his contribution to the subject of ekphrastic poetry in Irish literature. Several texts, on the other hand, have been devoted to discussing his work in relation to the spatial, place-bound quality of his poetry and prose. This article seeks to bridge this gap by reframing the ekphrastic mode as the intimate but illusory coming into contact between author, reader, and work. Using the dual role of the ‘study’ as both a practice drawing and a private room, this paper argues Ciaran Carson’s final collection, Still Life, represents a new interpretation of how intimate connections in domestic spaces can be portrayed in Northern Irish literature.

This article concentrates on Modenese inquisitorial processi that investigated interactions between Jews and Christians that took place in their domestic premises, especially the more spacious dwellings in country towns and villages where there were no ghettoes. These investigations confirm that inquisitorial vetoes on socializing were blithely ignored, and that Jews and Christians often seemed to have no antipathy for or suspicion of each other. As will be shown, Christians went into Jews' houses, but Jews seldom appeared to enter those of Christians. The reasons for this are suggested below. [ABSTRACT FROM AUTHOR]

Despite the publication of three books directly addressing the intersection between text and visual artworks — Fishing for Amber (1999), Shamrock Tea (2001), Still Life (2019) — Ciaran Carson’s work has not been given significant attention in terms of his contribution to the subject of ekphrastic poetry in Irish literature. Several texts, on the other hand, have been devoted to discussing his work in relation to the spatial, place-bound quality of his poetry and prose. This article seeks to bridge this gap by reframing the ekphrastic mode as the intimate but illusory coming into contact between author, reader, and work. Using the dual role of the ‘study’ as both a practice drawing and a private room, this paper argues Ciaran Carson’s final collection, Still Life, represents a new interpretation of how intimate connections in domestic spaces can be portrayed in Northern Irish literature. [ABSTRACT FROM AUTHOR]

Copyright of Complutum 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.)

This article examines the design-research of the white, South African, left-wing, liberal architect Elizabeth "Betty" Spence (1919–84) during early spatial apartheid. Building on Spence's fragmented archive of publications and interviews, we explore how she worked for and with disenfranchised Black township inhabitants on materializing alternative housing options. Spence's approach included careful observation of how different inhabitants—particularly women—used interior spaces. While her work responded pragmatically to distinct South African social, economic, and racial challenges, this article shows that her design-research was indebted to both European design thinking on the optimization of domestic space and American-South African debates on "race relations." Her concern with incremental housing, self-construction, and the process of building and homemaking in the townships, we argue, should be understood as a form of political action that enabled self-determination within the framework of modern urban life. [ABSTRACT FROM AUTHOR]

In Herman Melville’s short story “Jimmy Rose” (1855) the narrator has inherited a house that once belonged to a socially unproductive and unreproductive man named Jimmy Rose. The story focuses on the narrator’s intimate identification with the elaborate and old-fashioned wallpaper in the house’s parlor. This is a space where, reluctant to live in the evolving prosaic times into which he is propelled by his family and contemporaries, the narrator chooses to linger in the obsolete and resists chronological sequencing. Honoring the memory of that socially failed earlier inhabitant of the house, he experiences this poetic room as a space of alternative values to his materialistic environment. In the frame of recent discussions of notions such as queer failure and shame this article reads the narrator’s bond with Jimmy Rose as a mode of relationality based on affect-genealogy, or chosen affiliation, with a queer type of failure, as well as as a gesture with which Melville invites readers to examine the notion of social value and to reevaluate that which is considered un(re)productive and, by extension, socially unsuccessful and/or failed

The article proposes a reading of the changes that occurred with regard to the use of time, during the experience of confinement, and focuses in particular on the impact of the experience of working from home. The results of a research conducted the period of the pandemic furnish the backdrop of this analysis. The hypothesis is that the practice of working from home, looked at from the perspective of time patterns, has a normalizing effect in terms of the plurality and multiformity of patterns that govern daily life. The time of the everyday – viewed by the sociology of time as a resistant time with respect to the mechanisms that regulate social life – is forced to absorb and catalyse the characteristics of an all-productive time, and to come to terms with the phenomena of acceleration that regulate social life. The Foucauldian category of “ disciplining “ has been used to describe the effects brought about by the use of domestic space upon the perception and quality of temporal patterns. [ABSTRACT FROM AUTHOR]

This essay seeks to elevate the early modern kitchen as a significant space for the production of scientific and natural knowledge. Little consideration has been given to how the tools, practices and 'knowledge' of the kitchen compared with those of the early modern laboratory. This essay examines the material culture of both spaces and uses the technique of historical reconstruction to help investigate the opportunities for knowledge production that occurred during everyday domestic tasks. Appreciation of this encourages us to seek a deeper understanding of 'domestic knowledge', providing fresh avenues of inquiry for exploring knowledge production in the domestic realm. [ABSTRACT FROM AUTHOR]

Copyright of Revista del Museo de Antropología is the property of Museo de Antropologia - IDACOR 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.)

Taking English medieval probate inventories as a case study this article introduces a methodological approach to inventories adapted from the narratological frameworks of Gérard Genette. Using this novel methodology this study explores how we might identify narrative elements within inventories and in so doing better our understanding of the objects and spaces of late medieval houses. It outlines how legal frameworks, the inventorying genre, and the organizational techniques of individual appraisers contributed to processes of narrativization. Moreover, it demonstrates how in praxis this narratological approach can recover traces of hidden objects, spaces, and the movement of appraisers, which have been preserved within the text of these documents. Finally, it highlights the potential of this methodology to be adapted in future work in order to examine systems of classification employed by appraisers, or the contexts of production for inventory corpora.

This article traces the biographical trajectory of an archaeological dwelling temporarily located in the second half of the first millennium AD. This analysis seeks to contribute to the knowledge of the role of domestic spaces in the structuring, production and reproduction of village life in the middle basin of the eastern slope of Sierra de El Alto-Ancasti (Catamarca, Argentina), where the case of study is placed. The reconstruction of the archaeological stratigraphic sequence shows a dynamic process of production of housing spaces, where the same enclosure can become a kitchen, a shed, an open space for multiple activities, a garbage dump or a roofed enclosure. At the end of the work, the logic and temporality involved in the production of the spaces of the house and its participation in the production of the village landscapes found in the study region is presented. [ABSTRACT FROM AUTHOR]

In their migration, people carry objects with them, and relocate them through physical spaces and across cultural boundaries. Handed down through generations, these objects become signs of ethnicity beyond their appearance and purpose. Examining the variety of the literary representations of objects and their subsequent translation contributes to the analysis of how material culture migrates within distant cultural systems and from one language to another. This essay focuses on domestic objects depicted by two Italian authors writing about the experience of a migrant coming-of-age in the United States: Helen Barolini and Chiara Barzini. Using diverse multilingual and (self-)translation strategies, they highlight through cultural translation the difficulties of bridging their Italian and American selfhood within an Italian household relocated abroad. In doing so, their relationship with objects underlines how their diasporic experience is entangled with their achievement of self-confidence and independence as women within the context of the Italian diaspora. [ABSTRACT FROM AUTHOR]

This contribution illustrates the process of reconfiguration of female roles within domestic spaces and the consequent questioning of the traditional family institution that took place between the 1880s and the 1930s. To this end, it examines the gradual emancipation of female characters in three family sagas set in that period - John Galsworthy's The Forsyte Saga (1906-1921), Rebecca West's Aubrey trilogy (1956-1985), and the TV series Downton Abbey (2010-2015) - and it respectively identifies three chronotopes: the Robin Hill country house, the music room, the car. These spaces symbolize the overcoming of physical and metaphorical barriers and express the protagonists' liberation from the limited space of the house as they gain access to the public sphere. [ABSTRACT FROM AUTHOR]

Taking English medieval probate inventories as a case study this article introduces a methodological approach to inventories adapted from the narratological frameworks of Gérard Genette. Using this novel methodology this study explores how we might identify narrative elements within inventories and in so doing better our understanding of the objects and spaces of late medieval houses. It outlines how legal frameworks, the inventorying genre, and the organizational techniques of individual appraisers contributed to processes of narrativization. Moreover, it demonstrates how in praxis this narratological approach can recover traces of hidden objects, spaces, and the movement of appraisers, which have been preserved within the text of these documents. Finally, it highlights the potential of this methodology to be adapted in future work in order to examine systems of classification employed by appraisers, or the contexts of production for inventory corpora. [ABSTRACT FROM AUTHOR]

A post-Covid world calls for a thorough revaluation of our lives and our ‘self’s, which is incomplete without a discussion of privilege (or lack of it) and social locations. This comparative study looks at the characters of two noted novels: Andrea in Nada by Carmen Laforet (1945) and Ammu, the mother of the twins Estha and Rahel in The God of Small Things by Arundhati Roy (1996). Within the framework of the concept of agency as advanced by Bronwyn Davies and the Foucauldian concept of discourse, this paper examines how the two women negotiate their family relations and how, in an attempt of self-determination, try to forge their own identities while rejecting the archetype of an "ideal woman". Upon examination, the lives of both reveal some similarities: they are both women of precarious social standing with Andrea, who is a young orphan who comes to Barcelona to study and Ammu, who is a single mother and divorcee; they both belong to repressive and conservative families, and they both ultimately wish to liberate themselves from their domestic setups. I primarily consider two questions: how similar are their struggles in negotiating their patriarchal domestic spaces, and how can one understand and contextualize their will to self-determination. I conclude with an assessment of the commonalities in their experiences, though they both belong to different epochs and worlds, while proposing that the condition of women in both colonizing and post-colonial societies are not vastly different. [ABSTRACT FROM AUTHOR]

This paper aims to uncover the architectural meaning1 of the domestic spaces portrayed in two Korean modern short stories, Yi Sang′s The Wings (1936) and Inho Choe′s Another Man′s Room (1971). By carefully describing Seoul′s unique domestic spaces during two different time periods, a gisaeng 2 house from the 1930s and a modern apartment unit from the 1970s, the two narratives qualitatively represent unique architectural conditions. In particular, with their detailed descriptions of architectural, material and immaterial elements and how these relate to a woman′s body, the stories produce seductive atmospheres poetically. In this sense, The Wings and Another Man′s Room show significant architectural meaning, and architectural practitioners and scholars should consider their potential as architectural references. By criticizing the contemporary stylistic and formal obsession in architecture as well as design education, this paper intends to highlight the fundamental meaning of architecture as the creation of emotionally and intellectually charged communicative and harmonious environments, in other words, ″attuned settings for significant human action,″ as they engage narrative forms.3

'How can everyday life be defined?' A set of 'found' photographs of Apartment 203 provide the start-point for this Lefebvrian enquiry into the domestic everyday and its expression through the lived interior. The subject -- a friendship lapsed over time and distance, and a friend who inhabits a kind of fictional character-- is reflected upon in an imagined visit that attempts to piece together the life lived now, through this (extra) ordinary interior. This visual essay is assembled as a piece of 'semi-fiction' based in the imagery of an uninhabited apartment. Using a rationalising navigational approach including mapping the floor plan to determine interior activity, it speculates entering into the apartment through a narrative encounter. In what might be considered a study in 'scripted space,' the audience is encouraged to walk into the story, supported by readings that move in spatial and temporal reference. Across these layers of interpretation, multi-sensory evocation signals atmosphere, mood, and presence to situate the reader in the interior or, at least, in this game of occupation and identity. 'Apartment 203' is the visual and aural narration of an interior, as mapped through a specific human story. Like the friendship at the core of it, it is formed in an amalgam of the present, memory, and imagination over something that is precise and static. This journal contribution approaches critical relations between the interior and image, with the form of the visual essay taken up in a playful challenge to how we represent interior spaces beyond the purely visual and, in turn, how they can communicate the stories of people who bring them to life in everyday use. [ABSTRACT FROM AUTHOR]

Neighbourhood greenness is one of the indicators for residential satisfaction in urban areas. However, residents in low-income urban communities often express dissatisfaction with their neighbourhoods because of limited urban green infrastructure (UGI) and trees in comparison to relatively affluent neighbourhoods. Low-income neighbourhoods in South Africa, known as low-cost housing areas (LCHAs) face a myriad of systemic and institutional dynamics that may exacerbate the limitations to successful greening. In this context, this study investigated household perceptions on barriers to new and continued urban tree planting in domestic and public spaces such as parks and streets in low-income neighbourhoods in eight South African towns. Questionnaires were administered to 800 households across 16 old (n = 400) and newer (n = 400) LCHAs. Inadequate space (58 %), insufficient funds (37 %), lack of equipment (35 %), tree damage (34 %), limited knowledge (25 %), and municipal restrictions (12 %) were the most frequently mentioned limitations to tree planting in domestic spaces. By contrast, residents identified municipal incompetence (55 %), inadequate space (40 %); insufficient funds (28 %), tree damage (27 %), risk of crime (21 %), and politics (20 %) as some of the factors hindering institutions from planting trees in public parks and along streets. Understanding these barriers is an important step towards the design of sustainable urban greening initiatives for low-income communities in Global South contexts. • Low-cost housing areas experience a myriad of systemic and institutional dynamics that affect successful greening. • Limited space is one of the leading barriers to domestic space urban tree planting. • Municipal incompetence is one of the leading barriers to public space urban tree planting. [ABSTRACT FROM AUTHOR]

The aim of this study was both to characterize screen use by children in domestic spaces depending on their urban or rural contexts and how their families intervene. For this purpose, four focus groups were applied to four- and five-year old children living in Lisbon and Vila Pouca de Aguiar, in Vila Real district. Eight parents from both contexts were interviewed. The main conclusions are: 1) in rural contexts, rather than in the city, children use more screens; 2) parents from both contexts are accountable for children's access to screens, especially smartphones and tablets; 3) the main explanation is parents' concern with children's social exclusion in case they don't use screens; and 4) parents from urban context reveal more risk awareness concerning their children's exposure to technological devices. [ABSTRACT FROM AUTHOR]

Copyright of Comunicação & Sociedade is the property of Revista Comunicacao & Sociedade 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 spaces located in the surroundings of the houses are complex systems, in which a great diversity of species is managed, mainly, for family feeding and medicinal use. In scientific studies these spaces are called agroforestry homegardens or homegardens, but few studies characterize how farmers themselves term these spaces. The objective of the present work was to carry out an ethnobotanical survey in productive units of São João da Várzea, Mossoró, Rio Grande do Norte, identifying with farmers the spaces and their characteristics. Participatory methodologies such as workshops, snowball technique, guided tour, participatory rapid diagnosis and cognitive maps were used. The knowledge of the local denominations of the different planting spaces is important for the accomplishment of studies in the agronomic and ethnobotanical area. In São João da Várzea, 15 spaces with special characteristics for agricultural activities were identified. The spaces have a diversity of plant species with a total of 154 species belonging to 63 botanical families, covering a total of 2474 plants. This fact associated to the management in each environment contributes to the food security of the families and maintenance of the local biodiversity. The spaces present differences in floristic composition related to water availability, size of the productive unit, soil type, socioeconomic,' cultural condition of the family and the family's agricultural aptitude. The most frequent species are fruit such as Psidium guajava L., Cocos nucifera L., Annona squamosa L., Malpighia glabra L. and Carica papaya L. [ABSTRACT FROM AUTHOR]

If, as Peter Gatrell has suggested, the figure of the refugee was defined and even constructed during the twentieth century, then the Second World War was a crucial period in this process (Gatrell, 2013). This article looks at three representations of refugee figures from this period, Graham Greene's novel The Name of Action (1930), Rebecca West's short story ‘Around Us the Wail of Sirens’ (1941) and Storm Jameson's novel The Black Laurel (1947), evaluating them in light of recent scholarship around hospitality and asylum to suggest that these refugee characters subvert the norms and customs of British hospitality. It argues that in these three texts, refugees act as ‘threshold figures’, exposing the realities of war and the inadequacy of British social processes to contain them. In doing so, they point towards a different way of representing the refugee as an active agent, rather than a passive recipient in both political processes and social interactions. [ABSTRACT FROM AUTHOR]

Rodenbach explores a vast imagery of enclosed spaces, from the heart as a room with closed shutters, or the aquarium with its interiorised transparency, to the isolated domestic interior. It is argued that these spaces function in Rodenbach's work as critical subtexts. They are revealing of the particular nineteenth-century awareness of past and present as traces: the past is irrevocably absent and other, and the present is a fragile, highly elusive future past. Against this elusiveness, a variety of strategies of re-presentation emerge in order to vivify the past, disappearing or absent realities. These strategies were for example the panoramic theatre, the historical novel or the museum with its evocative power, that somehow established a sense of continuity and connection between past and present. Also the increasingly problematic notion of the subject as consciousness, as presence with reality and with the self, that is central to this essay, is part of this broader context of presentification, historical awareness, and representation. The spatial imageries in Le Règne du silence and Les Vies encloses, in Bruges-la-Morte, Le Carillonneur, L'Arbre and L'Ami des miroirs, disrupt and problematize presentification. More precisely, through challenging the notion of the subject as an immediate, exhaustive presence with reality, caught in fixed, stable thoughts, Rodenbach testifies to the irreducible fragility of the present. Fixed thoughts dissolve and become elusive, and result from the ungraspable movements of the subconscious. In Rodenbach's interior spaces, the subject thus becomes an elusive being that, through self-reflection, has incorporated in its very self the opaque depths of the subconscious. [ABSTRACT FROM AUTHOR]

The article reports on the relationship of culture, race, and cloth to African Diasporas in several places including West Africa, Great Britain, and U.S. Topics mentioned include the cultural meaning of cloth, the importance of art and culture to social transformation, and the cultural production and artistic expression of African-American communities.

Copyright of Communication & Culture Online / Komunikacija i Kultura Online is the property of FOKUS: Forum za Interkulturnu Komunikaciju 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 attempts a close reading of the life narratives of two select male Gujarati entrepreneurs - Nanji Kalidas Mehta and Muljibhai Madhvani. Their biographies offer a detailed account of voyages made by them to East Africa, their spirit of exploration and enterprise, and the formidable business empires that they painstakingly built in present-day Uganda. While the narratives offer a laudatory account of the commercial acumen of these business magnates of Indian origin, the life stories and the role of women of their families remain marginalised and untold. This paper argues that by limiting the description of the lived experiences of women to the confines of their domestic spaces, the two narratives under study fail to acknowledge the possible contribution of the Indian emigrant women, either direct or indirect, to the project of entrepreneurial expansion of the community of East African Asian traders, and thereby restricts the experiences of women in the East African Asian diaspora to the domestic realm alone. [ABSTRACT FROM AUTHOR]

Copyright of Arenal.Revista de Historia de las Mujeres is the property of Arenal. Revista de Historia de las Mujeres 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.)