In this article, we will take a closer look at the role played by the depiction of weeping and tears in the story of the conversion of Benedict of Aniane. According to his hagiography, Benedict, seen as one of the most important intellectuals at the Carolingian court in the late eighth and early ninth century, started his career as a secular aristocrat before undergoing an inner conversion and subsequently pursuing a monastic lifestyle. As presented by the contemporary hagiographer Ardo, the tears, rather than denoting any kind of ‘abnormal’ behaviour, were among the first external signs of this conversion. As such, they should be analysed not only in terms of the behaviour of a historical figure, but also as a narrative trope with many layers of meaning that would have presented themselves to a contemporary audience familiar with the same traditions as the author of Benedict’s vita. Rather than simply denoting the emotionality of the protagonist, they signalled the author’s concerns about the state of the world as well, and as such should be seen as a way of ‘normalising’ rather than exoticising Benedict’s conversion against the broader backdrop of Carolingian court culture in the early ninth century.
{"title":"Tears for Fears: Alienation and Authority in the World of Benedict of Aniane","authors":"Frances Trzeciak, Rutger Kramer","doi":"10.16995/olh.314","DOIUrl":"https://doi.org/10.16995/olh.314","url":null,"abstract":"In this article, we will take a closer look at the role played by the depiction of weeping and tears in the story of the conversion of Benedict of Aniane. According to his hagiography, Benedict, seen as one of the most important intellectuals at the Carolingian court in the late eighth and early ninth century, started his career as a secular aristocrat before undergoing an inner conversion and subsequently pursuing a monastic lifestyle. As presented by the contemporary hagiographer Ardo, the tears, rather than denoting any kind of ‘abnormal’ behaviour, were among the first external signs of this conversion. As such, they should be analysed not only in terms of the behaviour of a historical figure, but also as a narrative trope with many layers of meaning that would have presented themselves to a contemporary audience familiar with the same traditions as the author of Benedict’s vita. Rather than simply denoting the emotionality of the protagonist, they signalled the author’s concerns about the state of the world as well, and as such should be seen as a way of ‘normalising’ rather than exoticising Benedict’s conversion against the broader backdrop of Carolingian court culture in the early ninth century.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46527324","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A variety of psychoanalytic readings of late-Victorian and early-twentieth century crime fiction often place the detective at the centre of their analysis, depicting them as a conduit through which readings of other aspects of the genre can be articulated. Samantha Walton, for example, explores the idea that the ‘the detective [acts as the] diagnostician of the self’, and goes on to argue that ‘[t]he central place of psychological discourses in the golden age novel both incites and responds to specific cultural anxieties about selfhood’ (2015: 275). Consequently, however, the psychological effects of performing the role of ‘detective’ remain under-examined. Arthur Conan Doyle’s famous Sherlock Holmes performs his detection under constant scrutiny from those around him who fail to understand his mental processes. In the early twentieth century, Dorothy L. Sayers’s Lord Peter Wimsey struggles to reconcile the tension between his position as ‘aristocrat’ and ‘detective’, and also has difficulty with disassociating his activities as a detective with his experiences in the First World War. Agatha Christie’s Hercule Poirot’s ‘othered’ position as of a different nationality to most other characters psychologically isolates him, whilst his compunction for the domestic does not mesh with his activities as an externally-othered figure. This article performs a reading of Doyle’s Sherlock Holmes, Sayers’s Lord Peter Wimsey, and Christie’s Hercule Poirot and offers a tentative exploration of how these classic ‘detectives’ are often physically, socially, narratively and psychologically isolated by performing their role.
{"title":"‘It is Introspective, and I Want to Introspect’: Detection, Isolation, and Neurotypicality in Crime Fiction, c. 1891–1940","authors":"Samuel Saunders","doi":"10.16995/olh.461","DOIUrl":"https://doi.org/10.16995/olh.461","url":null,"abstract":"A variety of psychoanalytic readings of late-Victorian and early-twentieth century crime fiction often place the detective at the centre of their analysis, depicting them as a conduit through which readings of other aspects of the genre can be articulated. Samantha Walton, for example, explores the idea that the ‘the detective [acts as the] diagnostician of the self’, and goes on to argue that ‘[t]he central place of psychological discourses in the golden age novel both incites and responds to specific cultural anxieties about selfhood’ (2015: 275). Consequently, however, the psychological effects of performing the role of ‘detective’ remain under-examined. Arthur Conan Doyle’s famous Sherlock Holmes performs his detection under constant scrutiny from those around him who fail to understand his mental processes. In the early twentieth century, Dorothy L. Sayers’s Lord Peter Wimsey struggles to reconcile the tension between his position as ‘aristocrat’ and ‘detective’, and also has difficulty with disassociating his activities as a detective with his experiences in the First World War. Agatha Christie’s Hercule Poirot’s ‘othered’ position as of a different nationality to most other characters psychologically isolates him, whilst his compunction for the domestic does not mesh with his activities as an externally-othered figure. This article performs a reading of Doyle’s Sherlock Holmes, Sayers’s Lord Peter Wimsey, and Christie’s Hercule Poirot and offers a tentative exploration of how these classic ‘detectives’ are often physically, socially, narratively and psychologically isolated by performing their role.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48246808","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1983, Li Ang, a Taiwanese writer, adapted a case about the killing of a husband, committed by Zhan Zhou Shi in Shanghai in 1945, into the novel The Butcher’s Wife (1983). The case is also recorded in The Hearsay in Shanghai (1955) written by Chen Ding-Shan. The Butcher’s Wife depicts a woman who, due to her traumatized childhood and psychological condition caused by her husband and neighbours, kills her husband, a butcher, and dismembers the body the way he does pigs. Li Ang’s novel tries to offer a legal explanation to exonerate the butcher’s wife, Lin Shi, through a plea of insanity. In this article, I will compare the case of Zhan Zhou Shi both in the media and in The Hearsay in Shanghai with The Butcher’s Wife to illustrate Li Ang’s reinterpretation of the case and explain how Li Ang goes beyond the insanity pleas that strengthens a stereotypical image of insane female offenders.
{"title":"The Insanity Plea in The Butcher’s Wife","authors":"Lung-Lung Hu","doi":"10.16995/olh.451","DOIUrl":"https://doi.org/10.16995/olh.451","url":null,"abstract":"In 1983, Li Ang, a Taiwanese writer, adapted a case about the killing of a husband, committed by Zhan Zhou Shi in Shanghai in 1945, into the novel The Butcher’s Wife (1983). The case is also recorded in The Hearsay in Shanghai (1955) written by Chen Ding-Shan. The Butcher’s Wife depicts a woman who, due to her traumatized childhood and psychological condition caused by her husband and neighbours, kills her husband, a butcher, and dismembers the body the way he does pigs. Li Ang’s novel tries to offer a legal explanation to exonerate the butcher’s wife, Lin Shi, through a plea of insanity. In this article, I will compare the case of Zhan Zhou Shi both in the media and in The Hearsay in Shanghai with The Butcher’s Wife to illustrate Li Ang’s reinterpretation of the case and explain how Li Ang goes beyond the insanity pleas that strengthens a stereotypical image of insane female offenders.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42794737","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The 2016 EU referendum has already left a lasting imprint on the English language. Building on previous research (e.g. Lalic-Krstin & Silaski 2018, Buckledee 2018), the present article integrates discourse-analytical and corpus-based methods to explore current developments and place them in the historical context of the past 70 years. Using the News on the Web (NoW) corpus, which covers the years from the run-up to the referendum to the present, I will show that Brexit discourse comprises not only the neologisms inspired by the event itself, but also a number of tropes such as ‘take/want (one’s) country back’, ‘take back control’, ‘(a truly) global Britain’, and more, most of which have developed from discourses of long historical standing. This history will be explored using the Hansard Corpus, which – despite caveats articulated by Mollin (2007) – has proved a valuable resource for the purpose at hand. The analysis will show that at various stages since 1945, Euroscepticism has meshed both with the rhetoric of the political left and the political right and that, ultimately, the UK’s position vis a vis Europe has been negotiated in the context of massive sociocultural transformations such as the dissolution of the British Empire and the European postwar economic boom. Pro-European sentiment, which reached its peak in the 1975 referendum endorsing membership in the European Economic Community, shows Britain having overcome the collective ‘phantom pain’ following the dissolution of the British Empire and the erosion of its position as a major world power. The break-up of this pro-European consensus has revealed cultural rifts in the UK which go deeper than the immediate political and economic context of the Brexit vote.
{"title":"Brexitiness: The Ebbs and Flows of British Eurosceptic Rhetoric since 1945","authors":"C. Mair","doi":"10.16995/OLH.424","DOIUrl":"https://doi.org/10.16995/OLH.424","url":null,"abstract":"The 2016 EU referendum has already left a lasting imprint on the English language. Building on previous research (e.g. Lalic-Krstin & Silaski 2018, Buckledee 2018), the present article integrates discourse-analytical and corpus-based methods to explore current developments and place them in the historical context of the past 70 years. Using the News on the Web (NoW) corpus, which covers the years from the run-up to the referendum to the present, I will show that Brexit discourse comprises not only the neologisms inspired by the event itself, but also a number of tropes such as ‘take/want (one’s) country back’, ‘take back control’, ‘(a truly) global Britain’, and more, most of which have developed from discourses of long historical standing. This history will be explored using the Hansard Corpus, which – despite caveats articulated by Mollin (2007) – has proved a valuable resource for the purpose at hand. The analysis will show that at various stages since 1945, Euroscepticism has meshed both with the rhetoric of the political left and the political right and that, ultimately, the UK’s position vis a vis Europe has been negotiated in the context of massive sociocultural transformations such as the dissolution of the British Empire and the European postwar economic boom. Pro-European sentiment, which reached its peak in the 1975 referendum endorsing membership in the European Economic Community, shows Britain having overcome the collective ‘phantom pain’ following the dissolution of the British Empire and the erosion of its position as a major world power. The break-up of this pro-European consensus has revealed cultural rifts in the UK which go deeper than the immediate political and economic context of the Brexit vote.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45643796","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article uses Patrick Hamilton’s fictionalisation of aspects of the case of Neville Heath, who was sentenced to death for murder and hanged in 1946, as the focal point for a discussion of how notions of criminality were shifting in Britain in the wake of the Second World War. Hamilton’s novel The West Pier (1951) and its sequels Mr Stimpson and Mr Gorse (1953) and Unknown Assailant (1955) show the author engaging with contemporary media portrayals of criminality, and in reviews critics vacillate between considering Hamilton’s protagonist as either exemplary or exceptional. In Hamilton’s novels and reactions to them, and in the depiction of the Heath case, anxieties about criminality, masculinity and shifts in the social order, are seen to be to the fore.
{"title":"The Criminal Type in Mid-Twentieth Century Britain: Hamilton, Gorse and Heath","authors":"Victoria Stewart","doi":"10.16995/OLH.472","DOIUrl":"https://doi.org/10.16995/OLH.472","url":null,"abstract":"This article uses Patrick Hamilton’s fictionalisation of aspects of the case of Neville Heath, who was sentenced to death for murder and hanged in 1946, as the focal point for a discussion of how notions of criminality were shifting in Britain in the wake of the Second World War. Hamilton’s novel The West Pier (1951) and its sequels Mr Stimpson and Mr Gorse (1953) and Unknown Assailant (1955) show the author engaging with contemporary media portrayals of criminality, and in reviews critics vacillate between considering Hamilton’s protagonist as either exemplary or exceptional. In Hamilton’s novels and reactions to them, and in the depiction of the Heath case, anxieties about criminality, masculinity and shifts in the social order, are seen to be to the fore.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44981391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article puts forward a new theory for discussing eighteenth-century music as narrative by combining literary theories of narrative with an analytical and historical exploration of the eighteenth-century opera overture. Through a consideration of how the overture to Iphigenie en Aulide prepares spectators for the ensuing drama and through a reconsideration of the role of (often ignored) devices such as musical repetition, this article shows how theories of theatre, drama, and narrative can inform our understanding of how music can be thought of in narrative terms and how eighteenth-century music was able to express a dramatic argument akin to that of a literary narrative. A hermeneutic approach is taken throughout that combines a (structuralist) analysis of the overture with a (poststructuralist) investigation into the overture’s reception history and of eighteenth-century literary and dramatic theory. By proposing that music has a narrative potential, rather than an explicit structural narrative, the article seeks to provide a theoretical bedrock for future studies that place the ‘reader’ or listener as participant.
本文将文学叙事理论与对18世纪歌剧序曲的分析和历史探索相结合，提出了一种新的理论来讨论18世纪音乐作为叙事的问题。通过对《伊菲igenie en Aulide》序曲如何让观众为随后的戏剧做好准备的考虑，以及通过对音乐重复等(经常被忽视的)设备的角色的重新思考，本文展示了戏剧、戏剧和叙事理论如何告诉我们如何用叙事的方式来思考音乐，以及18世纪音乐如何能够表达类似于文学叙事的戏剧论点。全书采用了一种解释学的方法，将序曲的(结构主义)分析与序曲的接受历史和18世纪文学和戏剧理论的(后结构主义)调查相结合。通过提出音乐具有叙事潜力，而不是明确的结构叙事，文章试图为未来的研究提供理论基础，将“读者”或听众作为参与者。
{"title":"Music and Narrative in the Eighteenth Century: Gluck’s Iphigénie en Aulide as Dramatic Tableau","authors":"K. Fenby-Hulse","doi":"10.16995/OLH.131","DOIUrl":"https://doi.org/10.16995/OLH.131","url":null,"abstract":"This article puts forward a new theory for discussing eighteenth-century music as narrative by combining literary theories of narrative with an analytical and historical exploration of the eighteenth-century opera overture. Through a consideration of how the overture to Iphigenie en Aulide prepares spectators for the ensuing drama and through a reconsideration of the role of (often ignored) devices such as musical repetition, this article shows how theories of theatre, drama, and narrative can inform our understanding of how music can be thought of in narrative terms and how eighteenth-century music was able to express a dramatic argument akin to that of a literary narrative. A hermeneutic approach is taken throughout that combines a (structuralist) analysis of the overture with a (poststructuralist) investigation into the overture’s reception history and of eighteenth-century literary and dramatic theory. By proposing that music has a narrative potential, rather than an explicit structural narrative, the article seeks to provide a theoretical bedrock for future studies that place the ‘reader’ or listener as participant.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-07-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47687344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Contemporary Mozambican artists who utilize recyclia as media create artworks that chronicle their society through bits and pieces of its discarded histories. Creating quintessentially Mozambican art, symbolic materials become potent signifiers of this developing nation. This article explores multivalent themes including object materiality, recycling, art making in Africa, and post-conflict resolution to determine why and how Mozambican artists utilize post-consumer waste. Factors including past wars, poverty, and a quest for creative expansion have contributed to widespread use of recycling as an artistic practice in Mozambique, despite artists’ varied economic, social, and educational levels. Mozambican artists who recycle their nation’s pre-used remnants not only connect to past cultural and artistic practices; they continue these traditions within contemporary contexts. By creating artwork from cast-off materials, artists illustrate how recycling permeates all levels of society, including its broad expansion into art making, and how the use of reprocessed materials both inspires and instills a sense of pride in artistic practices. Themes addressed in artwork made from recyclia include politics, social commentary, and cultural heritage. Artists include Fiel, who transforms destroyed weapons of Mozambique’s past wars into powerful tools for peacebuilding and post-conflict resolution; Carmen, who uses her old dresses to create hanging fabric pieces that capture shadows creating dissonance between light and dark; Joao, who calls for donations of jeans on Facebook that he will patch together and use as a variegated background supports for painting; and Pekiwa, who critiques Mozambican society through his use of recycled boats, windows, and doors.
{"title":"Recycling Discarded Histories to Chronicle Identities: Making Art from Waste in Mozambique","authors":"Amy Schwartzott","doi":"10.16995/OLH.357","DOIUrl":"https://doi.org/10.16995/OLH.357","url":null,"abstract":"Contemporary Mozambican artists who utilize recyclia as media create artworks that chronicle their society through bits and pieces of its discarded histories. Creating quintessentially Mozambican art, symbolic materials become potent signifiers of this developing nation. This article explores multivalent themes including object materiality, recycling, art making in Africa, and post-conflict resolution to determine why and how Mozambican artists utilize post-consumer waste. Factors including past wars, poverty, and a quest for creative expansion have contributed to widespread use of recycling as an artistic practice in Mozambique, despite artists’ varied economic, social, and educational levels. Mozambican artists who recycle their nation’s pre-used remnants not only connect to past cultural and artistic practices; they continue these traditions within contemporary contexts. By creating artwork from cast-off materials, artists illustrate how recycling permeates all levels of society, including its broad expansion into art making, and how the use of reprocessed materials both inspires and instills a sense of pride in artistic practices. Themes addressed in artwork made from recyclia include politics, social commentary, and cultural heritage. Artists include Fiel, who transforms destroyed weapons of Mozambique’s past wars into powerful tools for peacebuilding and post-conflict resolution; Carmen, who uses her old dresses to create hanging fabric pieces that capture shadows creating dissonance between light and dark; Joao, who calls for donations of jeans on Facebook that he will patch together and use as a variegated background supports for painting; and Pekiwa, who critiques Mozambican society through his use of recycled boats, windows, and doors.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42235294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article begins by positing the absence of the eutopian genre within mainstream film and hypothesising that such an absence is worthy of artistic exploration. After discussing why film is considered crucial, the article examines Utopian Studies articles by Peter Fitting, Peter Ruppert and Robert Shelton, who discuss utopia in film with reference to Lyman Tower Sargent’s definition of utopia. The article suggests that although these writers also detected an absence of eutopian film, their analysis was obscured by focussing on the ‘utopian impulse’, a more important tool for scholars than artists. The distinction between the ‘utopian impulse’ and the ‘utopian art-form’ is probed with reference to Fredric Jameson and Douglas Kellner, suggesting that the missing genre might be better described as the utopian art-form. Problems raised by the words ‘utopia’ and ‘eutopia’ are then discussed. ‘Eutopia’ is found to be more suitable for the article’s aims. Following a short summary of utopia’s historical reputation, where Adorno’s argument against describing positive imaginaries is addressed, Tower Sargent’s definition of ‘eutopia’ is explored with reference to the ‘sociopolitical’, ‘place’ and relation of eutopia to its readers. These terms are used to examine the relevance of three films (Black Panther (2018), Tomorrowland (2015) and Blade Runner 2049 (2017)) to the eutopian art-form, showing how using these terms can help to understand what the eutopian art-form is and how to create new instances of it. A closing look at the existing field of mainstream film leads to a summary of this article’s findings, namely that the eutopian art-form is absent and that this space presents a valid space for new artistic creation.
{"title":"Delineating the Missing Film Genre: Eutopia","authors":"S. Bunn","doi":"10.16995/OLH.302","DOIUrl":"https://doi.org/10.16995/OLH.302","url":null,"abstract":"This article begins by positing the absence of the eutopian genre within mainstream film and hypothesising that such an absence is worthy of artistic exploration. After discussing why film is considered crucial, the article examines Utopian Studies articles by Peter Fitting, Peter Ruppert and Robert Shelton, who discuss utopia in film with reference to Lyman Tower Sargent’s definition of utopia. The article suggests that although these writers also detected an absence of eutopian film, their analysis was obscured by focussing on the ‘utopian impulse’, a more important tool for scholars than artists. The distinction between the ‘utopian impulse’ and the ‘utopian art-form’ is probed with reference to Fredric Jameson and Douglas Kellner, suggesting that the missing genre might be better described as the utopian art-form. Problems raised by the words ‘utopia’ and ‘eutopia’ are then discussed. ‘Eutopia’ is found to be more suitable for the article’s aims. Following a short summary of utopia’s historical reputation, where Adorno’s argument against describing positive imaginaries is addressed, Tower Sargent’s definition of ‘eutopia’ is explored with reference to the ‘sociopolitical’, ‘place’ and relation of eutopia to its readers. These terms are used to examine the relevance of three films (Black Panther (2018), Tomorrowland (2015) and Blade Runner 2049 (2017)) to the eutopian art-form, showing how using these terms can help to understand what the eutopian art-form is and how to create new instances of it. A closing look at the existing field of mainstream film leads to a summary of this article’s findings, namely that the eutopian art-form is absent and that this space presents a valid space for new artistic creation.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47193498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Alexandra Ortolja-Baird, V. Pickering, J. Nyhan, K. Sloan, Martha H. Fleming
Catalogues are the core documents of museum structure and meaning. Yet no significant computational analysis has been made of how catalogues from the early modern period are constructed or of the way their structure and content relate to the world from which collections are assembled. The Leverhulme-funded ‘Enlightenment Architectures: Sir Hans Sloane’s catalogues of his collections’ (2016–19), a collaboration between the British Museum and University College London, with contributing expertise from the British Library and the Natural History Museum, seeks to change this. The Enlightenment Architectures project is analysing Sloane’s original manuscript catalogues of his collections to understand their highly complex information architecture and intellectual legacies. In this article we explore some of the challenges of seeking to integrate the methods of digital humanities with those of cataloguing, inventory, curatorial and historical studies and of bringing such interdisciplinary approaches to bear on early modern documentary sources. We do this through two case studies that highlight the approaches to encoding Sloane’s catalogues in TEI that Enlightenment Architectures has employed and the major challenges that these have brought to the fore.
{"title":"Digital Humanities in the Memory Institution: The Challenges of Encoding Sir Hans Sloane’s Early Modern Catalogues of His Collections","authors":"Alexandra Ortolja-Baird, V. Pickering, J. Nyhan, K. Sloan, Martha H. Fleming","doi":"10.16995/OLH.409","DOIUrl":"https://doi.org/10.16995/OLH.409","url":null,"abstract":"Catalogues are the core documents of museum structure and meaning. Yet no significant computational analysis has been made of how catalogues from the early modern period are constructed or of the way their structure and content relate to the world from which collections are assembled. The Leverhulme-funded ‘Enlightenment Architectures: Sir Hans Sloane’s catalogues of his collections’ (2016–19), a collaboration between the British Museum and University College London, with contributing expertise from the British Library and the Natural History Museum, seeks to change this. The Enlightenment Architectures project is analysing Sloane’s original manuscript catalogues of his collections to understand their highly complex information architecture and intellectual legacies. In this article we explore some of the challenges of seeking to integrate the methods of digital humanities with those of cataloguing, inventory, curatorial and historical studies and of bringing such interdisciplinary approaches to bear on early modern documentary sources. We do this through two case studies that highlight the approaches to encoding Sloane’s catalogues in TEI that Enlightenment Architectures has employed and the major challenges that these have brought to the fore.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45729781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is a linguistic contribution to research about the representations of Islam and Muslims in French media’s discourses, in which we will specifically focus on the use and meanings of the expression ‘moderate Muslims’. We follow, in a diachronic approach, the emergence and evolution of this expression used in the newspaper Le Monde; then we study its modalities of usage in the discursive moment of the 2015 terrorist attacks. Finally, we put forward a path analysis suitable to the observation of the contexts and modalities of usage (forms of adjustment and negotiation of meaning, modalities of commitment…) of the designations using a semantic and referential instability. Abstraite Cet article est une contribution linguistique aux recherches portant sur les representations associees a l’islam et aux musulmans dans les discours mediatiques en France, dans laquelle on s’interesse plus particulierement au(x) sens et aux emplois de la nomination « musulmans moderes ». Nous retracons, sur le plan diachronique, l’emergence et l’evolution des emplois de l’expression dans le journal Le Monde, puis nous observons ses modalites d’emploi dans le moment discursif des attentats de 2015. On propose enfin un parcours d’analyse adapte a l’observation des contextes et des modalites d’emplois (formes d’ajustement et de negociation du sens, modalites de prise en charge…) des designations presentant une instabilite semantique et referentielle.
{"title":"Sens et Emplois de l’Expression « Musulmans Modérés » dans les Discours Médiatiques","authors":"Manon Pengam, Agata Jackiewicz","doi":"10.16995/OLH.431","DOIUrl":"https://doi.org/10.16995/OLH.431","url":null,"abstract":"This article is a linguistic contribution to research about the representations of Islam and Muslims in French media’s discourses, in which we will specifically focus on the use and meanings of the expression ‘moderate Muslims’. We follow, in a diachronic approach, the emergence and evolution of this expression used in the newspaper Le Monde; then we study its modalities of usage in the discursive moment of the 2015 terrorist attacks. Finally, we put forward a path analysis suitable to the observation of the contexts and modalities of usage (forms of adjustment and negotiation of meaning, modalities of commitment…) of the designations using a semantic and referential instability. Abstraite Cet article est une contribution linguistique aux recherches portant sur les representations associees a l’islam et aux musulmans dans les discours mediatiques en France, dans laquelle on s’interesse plus particulierement au(x) sens et aux emplois de la nomination « musulmans moderes ». Nous retracons, sur le plan diachronique, l’emergence et l’evolution des emplois de l’expression dans le journal Le Monde, puis nous observons ses modalites d’emploi dans le moment discursif des attentats de 2015. On propose enfin un parcours d’analyse adapte a l’observation des contextes et des modalites d’emplois (formes d’ajustement et de negociation du sens, modalites de prise en charge…) des designations presentant une instabilite semantique et referentielle.","PeriodicalId":43026,"journal":{"name":"Open Library of Humanities","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2019-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46323568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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