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The article reads The Stone Virgins as a text underlined by an Indigenous poetics that situates the land as a speaking subject and an archive of memory. Its critical foci are African feminist conceptions of the entanglement of human and nonhuman matter and their implications for current conceptions of the archive. The article suggests that, rather than incorporating into the postcolonial national archive the excluded voices of women and ethnic minorities, The Stone Virgins makes legible minority practices of memory making that the archive does not recognize. To account for these practices and their literary representation, the article draws a comparison between the novel's poetics of land and Indigenous poetics across other Anglophone spheres. The comparison is based in the convergence of Black and Indigenous conceptions of the coconstitutionality of the human and nonhuman. The comparison provides a new critical model for reading postcolonial aesthetic formations that engage nonhuman beings. It furthermore speaks to larger conversations regarding the "ontological turn" of criticism oriented to animist and new materialisms, as it addresses a mode of reading the land in African writing attuned to Indigenous systems of knowledge. [ABSTRACT FROM AUTHOR]

The key problem to solving constrained multi-objective optimization problems (CMOPs) is how to achieve a balance between objectives and constraints. Unfortunately, most existing methods for CMOPs still cannot achieve the above balance. To this end, this paper proposes an adaptive constraint relaxation-based evolutionary algorithm (ACREA) for CMOPs. ACREA adaptively relaxes the constraints according to the iteration information of population, whose purpose is to induce infeasible solutions to transform into feasible ones and thus improve the ability to explore the unknown regions. Completely ignoring constraints can cause the population to waste significant resources searching for infeasible solutions, while excessively satisfying constraints can trap the population in local optima. Therefore, balancing constraints and objectives is a crucial approach to improving algorithm performance. By appropriately relaxing the constraints, it induces infeasible solutions to be transformed into feasible ones, thus obtaining more information from infeasible solutions. At the same time, it also establishes an archive for the storage and update of solutions. In the archive update process, a diversity-based ranking is proposed to improve the convergence speed of the algorithm. In the selection process of the mating pool, common density selection metrics are incorporated to enable the algorithm to obtain higher-quality solutions. The experimental results show that the proposed ACREA algorithm not only achieved the best Inverse Generation Distance (IGD) value in 54.6% of the 44 benchmark test problems and the best Hyper Volume (HV) value in 50% of them, but also obtained the best results in seven out of nine real-world problems. Clearly, CP-TSEA outperforms its competitors. [ABSTRACT FROM AUTHOR]

In the 1920s and 30s, a criminal investigation followed by a trial against a group of allegedly homosexual men was launched in Gothenburg, Sweden. Almost a century later, Swedish artist Conny Karlsson Lundgren engages with these events in a multifaceted two-part installation and performative work that borrows the title from the investigation, The Gothenburg Affair (Göteborgsaffären). In this article, we describe how the investigation was conducted during a time in which the science of criminology expanded to envelop new technologies and methods of identification and categorization. Tools such as new uses of photography, the portrait parlé, and Kretschmerian body types were implemented to identify criminal individuals and behaviors and place them within a particular category of criminality or pathology. In his works, Karlsson Lundgren conspicuously brings out sensual and sexual details of the archival material and inverts the denigrating and stigmatizing ways in which these details were used in the source material. In the article, we describe the strategies though which Karlsson Lundgren's work transforms aspects of the archival material and in this way intervenes in history to continue a resistance found between the lines of the archival material itself. [ABSTRACT FROM AUTHOR]

In the context of the recent publication of Donner le tempts II, we question the status of the gift, its singularity, its relationship, beyond the intentional structure of decision and consciousness, with the general problematic of democracy and the archive, of Khora as an enigma that haunts the same Onto-Theo-Cosmological conjugation of metaphysics and logocentrism, to show that the question about the gift is also the question about history and about the very possibility of democracy, beyond the capitalist logic of accumulation and valuation. We end up referring to the strange case of the 'six pesos' thematized in Miguel Angel Asturias's novel, Hombres de maiz, as a case of the incalculable. Far from an instrumental account, but also from a providential version of the gift, we try to show it as an event always already inscribed in the abyss of our exchange relations, a possibility contained in its own impossibility. [ABSTRACT FROM AUTHOR]

AbstractThis article seeks to provide an adaptable model for cultural heritage institutions looking to amplify exhibition impact using creative secondary outreach tools. Exhibition creation has become integral to the archival and cultural heritage professions—highlighting collection materials, bringing new audiences into archival spaces, and providing opportunities for advocacy. By identifying targeted outreach stages, archives and special collections staff can build partnerships with related cultural heritage institutions and better utilize internal resources. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

AbstractThis research explores the detailed methods of upcycling, contrasting them with traditional linear design processes through autoethnographic documentation. By centering on a material-oriented view of reuse, the study uncovers how upcycling actively interacts with a material’s past, encompassing human imprints, temporality, fragmentation, and signs of aging. While commonly acknowledged as reuse of worn garments, upcycling can entail intricate interactions with historical remnants and weathered materials, including the challenges posed by aged material patina and its transient nature. The research challenges the prevailing upcycling literature’s limited dialogue of the nuanced complexities associated with working with aging materials, which instead often prioritizes consumer-driven goals within a circular remanufacturing context. Through practices like upcycling, which center on physical making and materials, we uncover insights and opportunities for impactful change often overlooked in traditional material processes, design planning, and manufacturing processes. [ABSTRACT FROM AUTHOR]

Graphology is a branch of science that tries to determine individual characteristics and details of a person based on their handwriting. It was started in 1871 with the devoted work of French cleric-archaeologist Jean-Hippolyte Michon. Today, this branch of science is used to evaluate people’s emotional development, give career advice, and conduct psychological analysis. Today, some company managers use the science of graphology to evaluate the personal characteristics of job applicants. The science of criminology, which contributes to the science of graphology, is the examination of the social and personal causes of any event. It focuses on crime, criminals, and ways to fight crime. Criminology studies are carried out to ensure justice and are carried out using various laws. However, there are also criticisms that graphology doesn’t always yield clear results in criminological studies. To put it more clearly, in the science of evidence (criminology), a broad consensus hasn’t been reached regarding the validity of graphology studies. Starting from this point, the benefits and shortcomings of graphology were analyzed in the study, and evaluations were made about the place and importance of graphology in archival science. In addition, the effect of graphology on archiving science was evaluated by focusing on the connection between the science of criminology. The study, which discusses the contribution of graphology to the sciences of archiving and information and records management, has been completed by making various suggestions that will support future academic studies. [ABSTRACT FROM AUTHOR]

The decades following the 1998 Good Friday/Belfast Agreement saw an expansion of support for cultural activities aimed at fostering reconciliation in Northern Ireland. Yet in spite of an increase in funder-led processes of audit and evaluation, there exists a significant absence of accessible data recording the development, production and experience of such cultural and artistic practices. Using the concept of the archive as a site of memory and forgetfulness, this article explores how funders of Art for Reconciliation (AfR), and the power implicit in their relationships with funded practitioners, influence what traces of this work are officially archived and in what form. The selectivity of this archive reflects a managerialism associated with the liberal peace ideology that decontextualises and depoliticises peacebuilding. In order to develop effective AfR practices, we explore ways to recollect and disseminate those aspects of AfR practice that existing methods of documentation have tended to forget. [ABSTRACT FROM AUTHOR]

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal 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 reflects on the anthropological scholarship of Katherine Verdery, especially her last book, My life as a spy , to explore the conditions of doing fieldwork and producing knowledge in the European East during the Cold War and onwards. In particular, I attend to the themes of secrecy, identity, surveillance, and power that are integral to fieldwork and anthropological practice more generally beyond the confines of Eastern Europe and that resonate in different contexts of authoritarianism and securitization. [ABSTRACT FROM AUTHOR]

This article proposes a theoretical framework for managing records documenting human rights abuse based on five key principles learned from community archives discourses: participation, shared stewardship, multiplicity, archival activism, and reflexivity. In shifting the focus of human rights archives to these core community-centric values, this paper proposes a survivor-centered approach to such records and argues that survivors should maintain control over the decision-making processes related to records documenting their abuse.

Graphology is a branch of science used to try to determine a person’s individual characteristics and details about that person based on a person’s handwriting. It was first started by the French clergyman-archaeologist Jean-Hippolyte Michon in 1871 and its use area has expanded in Europe over time. The science of graphology is a useful method that can also be used to evaluate people’s emotional development, give people career advice for the future, and even provide psychological analysis. For example, it is known that many international company managers today use the science of graphology to evaluate the personal characteristics of job applicants during or after the interview stage. However, there are also criticisms that the science of graphology cannot always produce clear results. To put it more clearly, in the science of evidence (criminology), a broad consensus on the validity of graphology studies has not been reached. Based on this point, the benefits and shortcomings of graphology were analyzed in the study and evaluations were made about the place and importance of graphology in archival science. In addition, the impact of graphology science on archiving science has also been evaluated by focusing on the connection between criminology science. The study, which focuses on the contribution of graphology science to archiving and information and document management sciences in particular, was completed by making various suggestions to support future academic studies.

After an introduction on the recent scientific and professional reflections on personal and author archives, the contribution briefly traces the biographical and professional path of Goliarda Sapienza (1924-1996) and outlines the history and articulation of the recent ordering of the writer's archival fonds. On the occasion of the centenary of Sapienza's birth, through the events and structure of the archive assembled after her sudden death by her husband and heir Angelo Pellegrino and ordered many years later, an overview of the fund is outlined that broadens previous knowledge by providing further research perspectives.

Promoting and presenting archives in a way that makes them a reassuring and easily accessible context is a primary concern for archivists, who are used to working in a field driven by communication. This paper offers a reflection on models and methods of transmitting and promoting documentary collections, while drawing inspiration from recent works that propose new perspectives on the question and its forms of presentation. Does a clear distinction between the established descriptive tradition and the so-called alternative approaches still make sense? Perhaps the two approaches are much more interconnected and stable than previously thought. Are research tools “healthy carriers” of narrative? It seems so. Alongside descriptive practices, the paper will compare some effective museum practices aimed at presenting archives and highlighting the specific cultural value that archives actively preserve. From a broader perspective, after a period of great success, narratives are now in crisis. To quote Byung-Chul Han, «At the core of this noisy storytelling lies a narrative void, manifesting itself as a lack of meaning and a loss of direction». Maybe archives can offer a different interpretative and descriptive key.

Travels were imperative for Fernando Távora. Drawing was the most esteemed tool for analysing and understanding what he had the opportunity to see whenever he “jumped borders”. During the month of September 2022, a substantial set of Távora’s journey drawings, archived today at the Marques da Silva Foundation, travelled from Porto to Italy. It was the subject and the objective of an exhibition, I viaggi di Fernando Távora (Cesena, from 23 September to 12 October), promoted by the Architecture Department of Bologna University in a cooperation with the Foundation. The opening event, as requested by the curators – Antonio Esposito, Francesco Saverio Fera, Giovanni Leoni and Giorgio Liverani – included a presentation speech dedicated to the Marques da Silva Foundation and its activities for the valorisation of Fernando Távora’s archive since 2011, when this Foundation took on the challenge of ensuring its conservation, study and diffusion. The speech pronounced on that occasion was an answer to both the request of the curators and the peculiarity of the circumstances: an exhibition focused on a very specific production by a single author and an event – the presentation and the exhibition opening – addressed to a heterogeneous public, composed of both architects and non-architects, having mostly a first contact with Fernando Távora’s work and with Marques da Silva Foundation itself. This contribution, although deprived of the voice and of the images it was originally complemented by, is the transcription of that communication. It also represents a state of an in-progress journey, to which new meanings and new comprehension of the relevance of this fundamental archive are continuously added in time.

“Archive” comes from the Ancient Greek ἀρχεῖον, “house of the ruler”: inside, we find what corresponds to the normative framework; outside, everything that dissents and is not conform. This occurs for the heteropatriarchal archive of intimate partner violence, as it is explored by Carmen Maria Machado in In the Dream House (2019), and for the archive of folklore, ruled by each (re-)teller’s framework. What if we regain the oral dimension of the tale tradition in a diffractive perspective? What if the reader entangles with the text, co-creating a new meaning? In this paper, I propose to shed a light on the possibilities of diffracting the folkloric archive, to shift the archival-ruled narratives in the direction of self-representation and empoderamiento for the subjectivities expelled from the archival narratives. Two are the paths proposed: firstly, situated literary retellings, with a focus on Machado’s memoir; and secondly, wild pedagogy and slow scholarship methodologies and practices, enabling the experience of the reader to entangle with and diffract the tales’ narratives.

Objectives: The research aims to study documentary archives from important departments, given that they contain important data, information and documents about events and general conditions. One of the countries that has been interested in archival work is Iraq because of the desire of many Iraqi historians to keep pace with those countries, as Iraq is the main homeland. For documentary archives, due to the ancient civilization and its cultural heritage since ancient times and in its contemporary history. Methodology: The research includes a brief historical study that gives a clear picture of the historical roots of archival work in Iraq by relying on Iraqi documents, sources, and newspapers that were considered the scientific sources of the research, then focusing on the role of Iraqi historians in collecting, classifying, and archiving documents and making them scientific material to draw from. Researchers and graduate students such as Abdul Razzaq Al-Hassani, Salem Al-Alusi, Saleh Ahmed Al-Ali, Yassin Abdul Karim, and others who later became founders and workers at the Iraqi Center for Document Preservation. Result: The archive constituted a source of various information related to the development of the features of political, social, intellectual, economic and cultural life, from the formation of the Iraqi state, and for this reason the state faced the problem of how to deal with the huge amount of these papers, records and files that are issued daily, but it did not receive any attention from anyone. In order to preserve documents and the necessity of securing them, or to establish an independent department to take care of their preservation and facilitate access to them by historians and researchers, until the destruction law was issued in 1942 AD, to which several amendments were made. Conclusion: A country that does not have an archive is like a patient who has lost his memory. Preserving documents goes back to the University of Baghdad and the urgent need for sources and references that they rely on in historical studies and research and their sense of the importance of documents in historical writings. They also drew attention to the necessity of making use of old papers. preserved in the state ministries and departments, and thus the responsible authorities at the University of Baghdad made unremitting efforts to contact government departments and institutions, urging them to pay attention to old records and files that contain various important information.

This article resurfaces an enslaved female whom we encounter, drowning, in the archive of the Middelburgse Commercie Compagnie (MCC). To unfold a reading beyond the transcription of her commodified death, I investigate the five localities that conditioned her bodily inscription into history: the archive, the law, the ship, the ocean, and the womb. Traveling through these localities, I disclose, at once, the historical violence against black females through the transatlantic slave trade system and the excess black females proved to be to this very system. Excessive thus, black female lineage provides an alternative to white, patriarchic systems of relation.

Te paper reconstructs the genesis of the ‘Centro di iniziativa giuridica Piero Calamandrei’ Foundation, from the initiative of the Radical Party to its progressive autonomy. After outlining the characteristic features of its statutory purposes, the Author highlights the main actions of the Foundation, among which the very recent publication in open access of the ten hard-to-find volumes of Calamandrei’s Opere giuridiche, edited by Mauro Cappelletti, stands out.

AbstractThis essay turns to adoption archives as a key site for imagining justice in both law and literature, taking South Korea’s history of transnational adoption as its focus. Adoptees are made through documents: case files, consent forms, advertisements and brochures, applications, home studies, and certificates that render them into adoptable subjects. On the one hand, these archives hold the promise of recovery, containing information needed to contextualize oneself and find one’s first families. Yet these documents also pose interpretive difficulties through their opacities, omissions, and fabrications, not to mention their lack of access. This essay proposes that efforts towards justice for Korean adoptees must proceed from a robust understanding of adoption archives: a knowledge that involves the complicated legal, ethical, and interpretive problems that surround these documents, as well as the difficult affective and intellectual relationships adoptees have with institutional record-holders as well as with the documents themselves. As a step towards this fuller reckoning, this essay provides a description and theorization of adoption archives in relation to foundational and recent developments in archive theory. It then outlines the legal histories and frameworks surrounding Korean adoption archives as they exist today, while also attending to the practical experiences of adoptees in accessing their records. Finally, it turns to recent literary works on Korean adoption that center adoption documents, exploring how literature provides a productive space for exploring the complexity of the archive. Ultimately, the essay proposes that archives matter not just as a source of violence or recovery, or as an unrecoverable origin, but rather through their representational forms and their implications for the adoption imagination. [ABSTRACT FROM AUTHOR]

The problem of optimisation methods is the stagnation of population P, which results in a local solution for the task. This problem can be solved by employing an archive for good historical solutions outperformed by the new better offspring. The archive A was introduced with the variant of adaptive differential evolution (DE), and it was successfully applied in many adaptive DE variants including the efficient jSO algorithm. In the original jSO, the historical good individuals replace the random existing positions in A. It causes that outperformed historical solution from P with lower quality to replace the stored solution in A with better quality. In this paper, a new approach to replace individuals in archive A more progressively is proposed. Outperformed individuals from P replace solutions in the worse part of A based on the function value. The portion of A selected for replacement is controlled by the input parameter, and its setting is studied in this experiment. The proposed progressive archive is employed in the original jSO. Moreover, the Eigenvector transformation of the individuals for crossover is applied to increase the efficiency for the rotated optimisation problems. The efficiency of the proposed progressive archive and the Eigen crossover are evaluated using the set of 29 optimisation problems for CEC 2024 and various dimensionality. All the experiments were performed on a standard PC, and the results were compared using the standard statistical methods. The newly proposed algorithm with the progressive archive approach performs substantially better than the original jSO, especially when 20 or 40 % of the worse individuals of A are set for replacement. The Eigen crossover increases the performance of the proposed jSO algorithm with the progressive archive approach. The estimated time complexity illustrates the low computational demands of the proposed archive approach. [ABSTRACT FROM AUTHOR]

Knowledge of the Arandora Star is no longer limited to members of the UK's historic Italian community but is shared by a much larger constituency thanks to the greater accessibility of historical documents relating to the sinking of the ship, and to the substantial volume of new creative work inspired by it. This article examines this expansion of historical memory by following two discrete but entangled strands. The first follows the construction of the Arandora Star archive, starting from the author's chance personal encounter with a photograph. The second involves a close reading of Francine Stock's A Foreign Country (1999) and Caterina Soffici's Nessuno può fermarmi (2017), two novels that explore how people outside the historic Italian community recognise their implication in the sinking and its aftermath. Both foreground the intergenerational and transnational transmission of difficult memory and the ways in which the Arandora Star functions as an unstable point of historical knowledge and ethical judgement. [ABSTRACT FROM AUTHOR]

Following the publication of a first instalment of the 39 Work Books of M. Masud R. Khan in November 2022 and the recent donation to the Freud Museum London of the full original correspondence between Khan and Wladimir Granoff, and between Khan and Victor Smirnoff, this essay serves the dual purpose of ensuring that Khan's memory is being kept alive and informing its readership of the newly available archival documents. It briefly retraces the history of Khan's conflicts with the British Psychoanalytical Society up to the destruction, in July 2019, of the Khan archives that were in the possession of the International Psychoanalytical Association. In addition, the author recounts how he came into possession of the letters Khan exchanged with Granoff and Smirnoff, and why it was decided to establish a Khan archive at the Freud Museum London. The prospect of this new archive being supplemented with the letters from Khan to his second wife, Svetlana Beriosova, and a full copy of the Work Books is also discussed. [ABSTRACT FROM AUTHOR]

AbstractShaligrams are the sacred fossil ammonites of the Himalayas. Viewed primarily as manifestations of Hindu gods, Shaligrams are obtained by pilgrimage to Himalayan Nepal and are then brought home to families and communities all over South Asia and the Diaspora as household deities. But Shaligrams also contain a variety of natural characteristics that are read and interpreted through long-standing oral traditions that use these features to both determine which specific deity is manifest within the stone and to link each Shaligram with a body of religious stories and local folklore. Therefore, the semiotic interpretation of Shaligrams instantiates ritual practices by which each stone becomes both an object and a text; able to be read by those fluent in its symbolic language. This practice then blurs the line between categories of object and archive; where fossils become literal texts and stones become storytellers. [ABSTRACT FROM AUTHOR]

José Eustasio Rivera died on December 1, 1928, at a polyclinic hospital in New York, leaving behind several unfinished projects and a large collection of documents that constitute the testimony of his life and creative process. The purpose of this study is to tell the story of these documents from the moment they were left behind by the author until the present day. Behind this effort of search and unification of the Rivera archive, I intend, on the one hand, to leave written and organized record of the documents that belonged to him and are accessible today, and, on the other hand, to establish the genetic dossier of The Vortex. [ABSTRACT FROM AUTHOR]

This article presents the work on the personal documentary collection of the architect José Vial Armstrong (1926-1983), part of the founding group of the School of Architecture of Valparaíso. This was based on identifying, reviewing, organizing, and classifying almost a thousand unpublished theoretical documents, providing new insights into his individual work and role within the group. Considering the proposal to revisit the sources of modern architecture, according to Panayotis Tournikiotis (2014), this article aims to demonstrate how the study of Vial’s documentary collection would make the author visible in the historiography of modern architecture in Chile, as well as to understand the role of the architect within the School to which he belonged, and, therefore, to review new information about this institution. [ABSTRACT FROM AUTHOR]

Wireless Sensor Networks are essential for monitoring physical objects in smart systems powered by the Internet of Things. It gathers information by detecting the surroundings and transmits it to a central repository. In this study, an unknown domain was explored using multi-objective optimization. This proposed work employs Multi-objective Grey Wolf Optimization to form effective clustering among nodes and also for choosing the cluster head. Based on the multi-objective fitness function, the cluster heads are selected. For every iteration, the cluster heads are changed thereby saving the consumption of energy and also resulting in an increase in network lifespan. The suggested method divides the network into various optimal-sized clusters and chooses the best cluster heads. The performance of the multi-objective exploration is presented. The proposed method's key contributions are by utilizing MOGWO for efficient clustering and CH selection, ultimately enhancing network performance. It dynamically adjusts CHs, resulting in energy savings and an extended network lifespan. MOGWO takes into account multiple objectives simultaneously. Through network configuration optimization, MOGWO enhances resource utilization, resulting in lower energy consumption, extended network lifetime, and improved overall efficiency. [ABSTRACT FROM AUTHOR]

This article argues that Returning Souls, directed by anthropologist Hu Tai-Li, expresses cultural revitalization sensuously, sensibly, and dialectically in documenting the repatriation of ancestral souls to the indigenous Taiwanese village Tafalong. The images in Returning, through montage, offer a way of accessing and representing the dialectical tensions of myth, indigeneity, historical reality, and secularization among the indigenous Tafalong people. In examining their autonomy and vitality, Hu presents a splintered world populated with fragmented histories and constructed through humor acts and interplays among ritual-images and myth-images. Moreover, she explores the image-spectator relation structure, using images to stimulate meanings relevant to her innermost concern for the indigenous Taiwanese through sensory experiences and embodied knowledge and materiality, toward regional aesthetics. In engagingly juxtaposing and interposing images, Hu's radical cinematic deployments based on the historical enmeshment of the indigenous Taiwanese work toward ushering in new possibilities for archiving indigenous material in the future. [ABSTRACT FROM AUTHOR]

Reflecting on the author's role in establishing, cataloging, and interpreting the personal papers of Zygmunt Bauman, this article ponders central questions related to working on and with the archives of public intellectuals. It addresses the role that intellectuals, and Bauman in particular, hold in contemporary "memory wars" and the role that diverse forms and practices of archives play therein. It considers the difficulties posed by and possibilities afforded by the existence of archives, as well as biographical and autobiographical writings, for the interpretation of theoretical work. To this end, the article deploys a number of keywords—estrangement, loss, silence, secrets—that have framed the author's encounter with the Bauman archive. [ABSTRACT FROM AUTHOR]

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Copyright of Revista Fotocinema is the property of Revista Fotocinema 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 Arte, Individuo y Sociedad 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.)

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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 Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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 media discourse on Russia’s war in Ukraine heavily focuses on geopolitical and military explanations of this conflict, with Ukraine often serving as a metaphor for preserving European values. However, a discussion of what these values mean and how ‘Europeanness’ is experienced from the perspectives of everyday life on the war-torn territories is rare. This article addresses these questions through a reading of the Wartime Diary which Yevgenia Belorusets, a Ukrainian photographer and writer, started keeping on 24 February 2022. We focus on the private/public form of this diary which, while staging the author’s intimate dialogue with herself, was published in ‘foreign’ languages (German and English), and incorporates both personal and other people’s testimonies. Drawing on the diary and its remediations as installations, we suggest that these works create a ‘chronotope of immediacy’ by mediating the experiences of ‘ordinary’ people. As such, they do not only enable readers/viewers from outside of Ukraine to follow the daily rhythms of life during war but also implicate each individual (and particularly each European, given the place of the publications and exhibitions) into the events. Thus producing ‘implicated publics’, these works can help to rethink ‘Europeanness’ in the context of the war. [ABSTRACT FROM AUTHOR]

The purpose of this article is to review and offer observations on the organised professional study tours, ranging from multi-day journeys throughout Europe to one-day explorations of specific regions of Slovenia, that the Archival Society of Slovenia has organised over the previous 20 years. Professional study trips are mostly open to society members, with the goal of fostering interpersonal relationships, casual experience sharing, and professional growth in general. However, those with an interest in archival work are typically invited as well. [ABSTRACT FROM AUTHOR]

Throughout history, infectious diseases have been frequently encountered worldwide due to various factors such as wars, social movements, environmental conditions, and socioeconomic issues. In response to this, various efforts have been made globally and in Turkey to combat infectious diseases. In our study, we examined the measures taken by the central government of Turkey regarding infectious diseases occurring within the country between 1939 and 1945. These measures were classified into social, political, health-related, educational, and economic categories. Budget discussions were held in the Grand National Assembly of Türkiye (TBMM) with the aim of providing economic resources to combat infectious diseases. Efforts have been made to implement measures such as continuous increase in the budget allocated to the health sector, free distribution of medicines, and initiatives like draining swamps to prevent endemic diseases like malaria. Additionally, free examination days have been organized by health institutions and community centers (Halkevleri) to combat trachoma and syphilis. The study focused particularly on diseases such as syphilis, malaria, typhus, and trachoma, as they left deep marks on individuals and communities. To prevent infectious diseases, committees were established and health personnel were appointed accordingly. The healthcare system provided support in the form of doctors, medicines, vaccines, and serums in areas where diseases were detected, based on reports from cities and screenings conducted by health officials. In the scope of combating these diseases, some medications were procured from abroad, while others were produced through the efforts of the Hıfzıssıhha Institute. The Document Analysis Method, one of the research methods in history, was used in this study. Various sources were utilized, including the General Staff Archive, the Republic Archive, the Ministry of Foreign Affairs Archive, newspapers, as well as original and investigative works. While official correspondence predominated in the archives, newspapers provided news and editorial articles on infectious diseases. Newspapers constituted an important source group for the period due to their inclusion of information beyond official documents. [ABSTRACT FROM AUTHOR]

This article looks at the photography of Kris Graves and the circulation of the artist's images on his social media accounts as a way of promoting social progress and racial justice, with a focus on his 2016 A Bleak Reality photoseries for Vanity Fair. The series consists of eight images that address the haunting specters of police brutality against eight African American male citizens who lost their lives at the hands of the state. Looking at Instagram, I posit a threefold claim about the social media photograph. First, I argue against the association of the social photo with the everyday. I examine a photoseries that initially participated in an economy of art but then migrated across a network of social relations in order to enhance its visibility—its dissemination ushering in the social life of the photograph that undergirds Black Lives Matter. Second, I suggest that the affective residues of Instagram's content linger in an indexical trace that transcends the transplatform network's digitally composited, modified, duplicated, and distributed images. This dual focus illuminates how social media function, on the one hand, as a technology of race while they allow Graves, on the other hand, to document instances of police brutality against African Americans. Third, in so doing, this article locates A Bleak Reality within a genealogy of civic media in order to explore how the co-optation of photography's reproductive affordances by African American photographers, artists, scholars, intellectuals, and abolitionists has allowed them to construct a counter-archive of Black cultural production around historical movements for racial justice. [ABSTRACT FROM AUTHOR]

In the 10th century, the renown of the Kāzarūn-based Kāzarūnīyya sufi order was established by the sage and muhaddith Sheikh Abū Ishāq al-Kāzarūnī (963-1035 C.E.) in the town of Kāzarūn, a suburb of Shiraz in Iran's Fars province, had expanded during the sheikh's lifetime to encompass Anatolia, China, and India, thereby finding substantial ground for expansion. The sufi order, founded by Abu Ishaq, who acted with the understanding of gaza, followed an expansionist policy that spread in other geographies outside the country where it emerged, causing it to be influential both in Anatolia and other Islamic countries and to gather many supporters. As a matter of fact, it is known that there are lodges and dervish lodges established in the name of the Kāzarūnīyya sufi order in Anatolia. However, when the archive documents were examined, it was seen that Kāzarūnīyya had a very wide spread area in Anatolia. Kāzarūnī lodge in Ankara is an example of this. It is noteworthy that the lodge here is not mentioned in sufi studies. In this study, archival documents are examined based on the question of whether a similar situation could be in other cities of Anatolia, and research is conducted on the years when the sufi order was active, taking into account the dates of the documents related to these institutions. In this study, it is mentioned how the sufi order spread, using some of the documents included. [ABSTRACT FROM AUTHOR]

(MIS)ARCHIVE is an ongoing project to question and explore the potential of archives, collections, and museums as meaningful artistic and pedagogical spaces. Sometimes it appears that institutions like archives are perceived as being mundane and innocuous, resulting in them being overlooked. Those who do pay attention to them seem to offer two conflicting narratives regarding archives: on the one hand, they are seen as public places where objective truths and collective histories can be found, while on the other hand, they are considered exclusive spaces that are used to shape a view of the past that reflects position and power. The lack of questioning and attention given to spaces like archives is one way that injustices and inequities can be perpetuated over time. The author, an artist and educator, takes up the topic of the archive through a series of artistic and pedagogical gestures. Centering on the actions of (mis)interpretation, (mis)representation, and (mis)use, the author provokes others to engage with archives as sites of knowledge and learning, to question and examine the practices of collecting and preserving, and consider what these sites offer educationally, artistically, and politically. [ABSTRACT FROM AUTHOR]

Copyright of VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro 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 VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro 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 VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro 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.)

Based on documentary evidence from ayllus and community archives in Bolivia, the authors of this essay reflect on the preservation, transmission and use of particular normative knowledges in the long period between the 16th and 21st centuries. They point out that some of the memorias of these ayllus, transmitted orally or in writing, formed not only the basis for collective pronouncements against the arbitrariness of authorities and governments in power but also for an effective inter-ayllu and trans-community organisation of the territory. They propose that it is fundamental to approach this knowledge from a social and anthropological history of law that does justice to the particularity, complexity and internal tensions of the narratives used by the actors involved.

This document is a poem titled "I sing the body ethnographic" by Khando Langri, which won first prize in the Society for Humanistic Anthropology 2022 Writing Awards. The poem explores the author's experiences as a Tibetan student at the University of Oxford and their connection to Tibetan objects in British museums. Langri expresses frustration with ethnographic practices and the consumption of objects and bodies of dispossessed peoples. The poem blends the diasporic body with objects in exile and calls for a reevaluation of the gaze in museum contexts. [Extracted from the article]