Pub Date : 2023-04-13DOI: 10.1017/s1062798723000042
Azime Pekşen Yakar
Zinnie Harris’ play, How to Hold Your Breath, predominantly involves Dana’s journey to Alexandria for a job interview. During her journey, Europe goes into financial collapse, and Dana and her sister Jasmine’s pride and sense of security, only because they are Europeans, are recurrently tested and gradually shatter due to a series of nightmarish experiences and encounters. The play deals, in particular, with the current discussions of the refugee crisis and the concept of Europe as the gist of civilization, yet it satirizes the latter by reducing it to an illusion that easily dissolves. Hence, even though the play is concerned with contemporary politics, it is curiously categorized, referring to the medieval genre, as a modern morality play. In this respect, this article analyses the concepts of being European as a sin – specifically pride, one of the seven deadly sins – in How to Hold Your Breath, and of Europe as a system that provides shelter to individuals in times of economic hardships. Accordingly, it explores Harris’ fusion of the medieval and the contemporary in Dana’s story, including the appalling conditions she has to endure as a refugee, so as to offer a novel perspective on the debates regarding Europe, Brexit, and the refugee crisis.
津尼·哈里斯(Zinnie Harris)的戏剧《如何屏住呼吸》(How to Hold Your Breath)主要讲述了达纳(Dana)前往亚历山大城参加工作面试的故事。在她的旅程中，欧洲陷入了金融崩溃，Dana和她的妹妹Jasmine的骄傲和安全感，只是因为他们是欧洲人，由于一系列噩梦般的经历和遭遇，不断受到考验，并逐渐破碎。该剧尤其关注当前关于难民危机和欧洲作为文明要义的概念的讨论，但它通过将后者简化为一种容易消散的幻觉来讽刺后者。因此，尽管这部剧与当代政治有关，但它被奇怪地归类为现代道德剧，参照中世纪的流派。在这方面，本文分析了作为欧洲人是一种罪恶的概念——特别是骄傲，七宗罪之一——在《如何屏住呼吸》中，以及欧洲作为一个在经济困难时期为个人提供庇护的制度。因此，它探讨了哈里斯在达纳的故事中融合了中世纪和当代，包括她作为难民必须忍受的骇人听闻的条件，从而为有关欧洲、英国脱欧和难民危机的辩论提供了一个新颖的视角。
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Pub Date : 2023-03-13DOI: 10.1017/s1062798723000029
Agata Cudowska
This article presents the results of many years of research on creative life orientations carried out in socially diverse groups – among secondary school students, university students, and teachers – as regards their socio-demographic characteristics. It describes the theoretical assumptions of analyses, being part of the author’s original concept of creative life orientations. It discusses the understanding of this category, its interdisciplinary sources, and the specificity of life orientations in the creative versus conservative dimension. The methodological basis for the field research is explained, including the description of the original research tool, the Creative Life Orientation Preference Scale. The article then presents the generalized results of research on the respondents’ preferences for creative life orientations obtained as part of several research projects. These analyses are the basis for conclusions from research concerning the respondents’ preferences for creative, ambivalent and conservative life orientations, as well as their determinants.
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Pub Date : 2023-01-17DOI: 10.1017/S1062798722000539
Vladimir Biti
Empires usually operate on the premise that only imperial centres are carriers of the historical progress of humanity, whereas imperial peripheries are far removed from this progress’s blessing. According to John Maxwell Coetzee, the Dutch Empire considered South Africa as its own land, which deprived that country’s indigenous people of their citizen rights. Like the residents of European imperial peripheries who were relegated to similar zones of historical indistinction, they were doomed to the twilight of legal illegality. Unlike the regulated area of historical progress, their state of exception was ruled by the whims of imperial officials. ‘The security police could come in and out and blindfold and handcuff you without explaining why, and take you away to an unspecified site and do what they wanted to you’, he wrote in Diary of a Bad Year (1977: 171). In his novel Waiting for the Barbarians, Coetzee strategically ‘unmoors’ and ‘deterritorializes’ this peripheral state of exception, spreading its iconoclastic effects all over the ‘sacrosanct’ territory of history.
帝国的运作通常基于这样一个前提:只有帝国中心才是人类历史进步的载体，而帝国边缘则远离这种进步的祝福。根据约翰·麦克斯韦尔·库切的说法，荷兰帝国认为南非是自己的土地，这剥夺了该国土著人民的公民权利。就像欧洲帝国边缘地区的居民一样，他们被降级到类似的历史模糊地带，注定要面对法律上的非法性。与历史进程中受管制的地区不同，他们的例外状态是由帝国官员的心血来潮统治的。他在《糟糕的一年日记》(1977:171)中写道:“安全警察可以进进出出，在没有解释的情况下蒙住你的眼睛，给你戴上手铐，然后把你带到一个不指定的地点，对你做他们想做的事情。”在他的小说《等待野蛮人》(Waiting for the Barbarians)中，库切策略性地“解开”和“去疆域化”了这种例外的边缘状态，将其破坏偶像的效果传播到历史的“神圣”领域。
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Pub Date : 2023-01-16DOI: 10.1017/S1062798722000540
S. Zenkin
Nineteenth-century European narrative literature repeatedly refers to the deliberate destruction (or intentions, attempts to destroy) of artificial images. The old artist in Honoré de Balzac’s novella The Unknown Masterpiece burns his collection of art; the hero of Alexander Pushkin’s poem The Bronze Horseman threatens the monument to the Emperor Peter the Great in St Petersburg; the inhabitants of a French village in Prosper Mérimée’s novella The Venus of Ille re-melt the ‘evil’ antique statue found in the soil; the painter in Nikolai Gogol’s novel The Portrait compulsively buys and destroys masterpieces of painting; another picture, in Emile Zola’s novel L’Œuvre, is burned after the suicide of its author; the hero of Oscar Wilde’s novel The Picture of Dorian Gray attempts to stab his own portrait, which is displaying his sins; in The Adventure of the Six Napoleons, a short story by Arthur Conan Doyle, six busts of the French emperor are broken, in turn first by a thief, and finally by a detective. Being destroyed or disappearing seems to be the recurrent destiny of intradiegetic images (material images included into a narrative text as its actors), and the attempts of their obliteration always constitute a highlighted, spectacular moment in the narrative, and not just an outward sign of someone’s inner feelings; they are typically presented as a sacrifice of ‘excessive’ (magical, demonic) objects. In some cases, they are explained by a deviant behaviour of the character (madness, delinquency), but the literary text is organized in order to make the reader sympathize with the experiences of that ‘iconoclast’, and mentally reproduce his acts. An analysis of texts should disclose the mechanism of this self-identification and put the stories about the attempts on the image into the general framework of nineteenth-century visual and literary culture.
19世纪的欧洲叙事文学反复提到有意破坏(或意图、企图破坏)人造形象。在巴尔扎克的中篇小说《未知的杰作》中，老艺术家烧毁了他的艺术收藏;亚历山大·普希金的诗《青铜骑士》中的主人公威胁着圣彼得堡彼得大帝的纪念碑;在Prosper msamrime的中篇小说《Ille的维纳斯》中，一个法国村庄的居民重新融化了在土壤中发现的“邪恶”古董雕像;尼古拉·果戈理小说《肖像》中的画家强迫性地购买和破坏绘画杰作;埃米尔·左拉(Emile Zola)的小说《L ' Œuvre》中的另一幅画，在作者自杀后被烧毁;奥斯卡·王尔德的小说《道林·格雷的画像》中的男主角试图刺死自己的肖像，这是在展示他的罪恶;在阿瑟·柯南·道尔(Arthur Conan Doyle)的短篇小说《六个拿破仑的冒险》(The Adventure of The Six Napoleons)中，法国皇帝的六座半身像先后被一个小偷和一个侦探破坏。被摧毁或消失似乎是内在影像(作为角色被纳入叙事文本的物质影像)反复出现的命运，它们被毁灭的尝试总是构成叙事中一个突出的、壮观的时刻，而不仅仅是一个人内心情感的外在标志;它们通常被呈现为“过度”(神奇的、恶魔的)物品的祭品。在某些情况下，它们是由角色的异常行为(疯狂，犯罪)来解释的，但是文学文本的组织是为了让读者同情那个“反偶像者”的经历，并在心理上复制他的行为。对文本的分析应该揭示这种自我认同的机制，并将这些关于形象尝试的故事置于19世纪视觉文化和文学文化的总体框架中。
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Pub Date : 2023-01-16DOI: 10.1017/s1062798722000515
I. Hargittai, M. Hargittai
There are profound expressions of remembrance of science and scientists, innovators and educators in Washington, DC. In this article, we survey the outdoor memorials and also include a few indoor memorials, if they are accessible to the public. There appears to be some predominance of physics and physicists, especially related to electricity among the memorials, but other areas of science are also represented. British and European scientists predominate, reflecting the time gap between memorials and contemporary science. Our coverage extends to a few concepts, such as education, with an emphasis on African American participation, energy, and the protection and conservation of the environment.
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Pub Date : 2023-01-16DOI: 10.1017/s1062798722000370
S. Estreicher
The earliest archaeological evidence of wine making in Southern France is dated 425 bce. Viticulture was present along the Mediterranean coast of France when the Romans arrived (second century bce) and flourished everywhere by the time they left (fifth century ce). For several centuries, long-distance trade virtually disappeared and the infrastructure fell apart. Profitable viticulture remained mostly local and was concentrated in the hands of the wealthy nobility and the Church. After the turn of the first Millennium, towns became cities and a middle-class emerged. In the twelfth century, the wine trade with England gained importance. Wines were shipped from Rouen, Nantes, La Rochelle, and later Bordeaux. Monastic orders controlled the most fertile land, especially in Champagne and Burgundy. In the thirteenth century, the Languedoc became a part of France. During the Avignon papacy, new vineyards were planted, in particular Châteauneuf-du-Pape. After the Renaissance, scientific studies gradually improved viticulture and wine-making. Ultimately, fermentation was understood. The Dutch greatly expanded the wine trade. Then, the first intentionally bubbly wines, distilled wines, and noble-rot wines were made. Informal rankings of Bordeaux wines led to the famous 1855 classification. In the late nineteenth century, nature-made catastrophes, especially phylloxera, transformed France into the largest wine-importing country in the world. Sub-standard and blended wines became common, hurting the reputation of all French wines. The two world wars, the Great Depression and Prohibition shrunk the market for wines. The way out involved strict quality-control measures and hard work. The next problem could well be global warming.
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Pub Date : 2022-12-22DOI: 10.1017/S1062798722000527
Xavier Narbón
There are other forms of iconoclasm besides the destruction of idols. For example, an iconoclast can be considered one who, instead of eliminating a deified image, reveals the trick of a magician. The manipulator distracts attention with the gesture of one hand while the other acts. This action affects everyone when it is driven by political-economic power. Warburg’s Mnemosyne Atlas aims to eliminate magic and reveal the hidden plot that seeks to dominate society. His first panel already announces this: at the top, a map of the zodiac constellations; in the middle, Europe; and below, a genealogical tree of the Medici-Tornabuoni banking family. The Renaissance elites accumulate wealth and influence because it is seemingly dictated by the stars from birth. It is an illusion they display on the roofs of their palaces in the same way that a war is justified by a prophecy. There are some coincidences between Giordano Bruno, Aby Warburg and Vilém Flusser, in their respective ways to explain the dual role of image: both as a weapon of propaganda and as a device to disclose the truth. This article aims to reveal two different types of montages: the persuasive one, controlled by people in power through the ages, which is dismantled by the other, the photographic Warburg Atlas. A mirror broken into fragments, therefore, breaks the mirage: a new iconoclastic way.
除了破坏偶像，还有其他形式的偶像破坏。例如，一个偶像破坏者可以被认为是一个人，而不是消除一个神化的形象，揭示一个魔术师的诡计。操控者用一只手的手势来分散注意力，而另一只手在做动作。在政治经济力量的推动下，这种行为会影响到每个人。沃伯格的《记忆之神阿特拉斯》旨在消除魔法，揭露企图统治社会的隐藏阴谋。他的第一块面板已经宣布了这一点:顶部是黄道十二宫的地图;中部是欧洲;下面是美第奇-托纳博尼银行家族的家谱。文艺复兴时期的精英们积累了财富和影响力，因为这似乎是由出生时的星星决定的。这是他们在宫殿屋顶上展示的一种幻觉，就像一场战争是由预言证明的一样。Giordano Bruno, Aby Warburg和vil m Flusser在各自的方式上解释了形象的双重作用:既是宣传的武器，又是揭露真相的工具，这三者之间有一些巧合。本文旨在揭示两种不同类型的蒙太奇:一种是有说服力的蒙太奇，由历代掌权的人控制，另一种是摄影的沃伯格地图集。因此，破碎的镜子打破了海市蜃楼:一种新的打破传统的方式。
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Pub Date : 2022-11-01DOI: 10.1017/S106279872200028X
Svend Erik Larsen
Stunde Null – this expression is used to indicate the end of the German Nazi regime in 1945 and the beginning of a new Germany. This historical turning point was marked by the re-naming of the former Germany in both East and West, and Nazi symbols, institutions, values and paraphernalia were taken to the tip. Naming and re-naming were part of this iconoclastic attempt to undo a recent past by turning the memory of it into a negative memory soon to disappear out of sight. However, Vergangenheitsbewältigung is a cumbersome process in which iconoclasm acts both as a singular event and as a moment in an ongoing historical process. The iconoclastic destruction in 1562 of the cathedral in Lyon opens a discussion of the interdependence of event and process in iconoclasm as an intervention in collective memory. Using re-naming to exemplify this cultural dynamic, the motto of the French Revolution, Liberté, Égalité, Fraternité, serves as a brief illustration of how revolutionary iconoclasms were exploited later to redesign French history. To finish, post-colonial India sets the scene for a demonstration of the ambiguities embedded in iconoclastic processes in the short story ‘Lawley Road’ (1956) by R.K. Narayan, an ironic account of a back-and-forth process of re-naming of streets and places in the aftermath of Indian independence.
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