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Violencia física, violencia pública: a la búsqueda de mecanismos de dominación social 身体暴力,公共暴力:寻求社会统治机制
IF 0.3 4区 历史学 Q1 HISTORY Pub Date : 2020-09-11 DOI: 10.3989/chdj.2020.009
R. Micó
The explanation of the worldwide spread and long-term maintenance of economic asymmetries and centralized and hierarchical political structures is a major concern for sociological and humanistic disciplines. This problem may be formulated as a paradox when exploited and victimized groups overtly support the social order that subdues them. Archaeology is able to address this problem from a broad and long-term perspective. The aim of this paper is to discuss the implications of public, lethal physical violence in the context of class societies. These are characterized by economic exploitation, centralization of political power, labour specialization and heavy restrictions of vital and cognitive perspectives for most of the population. It is suggested that key social relations under these conditions could be similar to the hostage-captor bond. Henceforth, inferences based on social and psychobiological reasoning are suggested in order to solve the aforementioned social paradox.
对经济不对称以及集权和等级政治结构在世界范围内的传播和长期维持的解释是社会学和人文学科关注的一个主要问题。当被剥削和受害群体公开支持压制他们的社会秩序时,这个问题可能会被表述为一个悖论。考古学能够从广泛和长期的角度来解决这个问题。本文的目的是在阶级社会的背景下讨论公共致命身体暴力的影响。其特点是经济剥削、政治权力集中、劳动力专业化以及对大多数人口的重要和认知观点的严格限制。有人认为,在这种情况下,关键的社会关系可能类似于劫持人质者的关系。因此,为了解决上述社会悖论,提出了基于社会和心理生物学推理的推论。
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引用次数: 0
Professors, Charlatans, and Spiritists: The Stage Hypnotist in Late Nineteenth-Century English Literature 教授、江湖骗子和灵媒:19世纪晚期英国文学中的舞台催眠师
IF 0.3 4区 历史学 Q1 HISTORY Pub Date : 2020-09-11 DOI: 10.3989/chdj.2020.007
Juan Marcos Bonet Safont
In this paper I will explore the stereotype of the stage hypnotist in fiction literature through the analysis of the novellas Professor Fargo (1874) by Henry James (1843-1916) and Drink: A Love Story on a Great Question (1890) by Hall Caine (1853-1931). Both Professor Fargo and Drink form part of a literary subgenre referred to variously as “Hypnotic Fiction”, “Trance Gothic” or “mesmeric texts”. The objective of my research, which examines both the literary text itself and its historical and social context, is to offer new and interesting data that may contribute to the development of a poetics or theory of the literary subgenre of hypnotic fiction. In this sense, this article is an essential contribution to a broader analysis that I have been working on, focusing on highlighting the generic features of this type of literature by analysing the stereotypes of hypnotists in fiction.
本文通过对亨利·詹姆斯(1843-1916)的中篇小说《法戈教授》(1874)和霍尔·凯恩(1853-1931)的《饮酒:一个伟大问题上的爱情故事》(1890)的分析,探讨小说文学中对舞台催眠师的刻板印象。法戈教授和Drink都是一个文学亚类的一部分,被称为“催眠小说”、“Trance Gothic”或“催眠文本”。我的研究既考察了文学文本本身,也考察了其历史和社会背景,目的是提供新的有趣的数据,这些数据可能有助于催眠小说文学亚类的诗学或理论的发展。从这个意义上说,这篇文章是对我一直在进行的更广泛分析的重要贡献,重点是通过分析小说中催眠师的刻板印象来突出这类文学的一般特征。
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引用次数: 0
The Indelible Markers of Twentieth-Century Spanish Antifeminism 二十世纪西班牙反女权主义的不可磨灭的标志
IF 0.3 4区 历史学 Q1 HISTORY Pub Date : 2020-09-11 DOI: 10.3989/chdj.2020.008
Teresa María Ortega López, Núria Félez Castañé
In twentieth-century Spain, the conservative political ideology maintained a gender discourse and an ideal of femininity that remained broadly unchanged. The democratic regimes established in the country, first after the reign of Alfonso XIII and then after the Franco dictatorship, did nothing to substantially fragment the country’s conservatism with regard to its proponents’ view of the function and role that women should fulfil in society. In an attempt to trace the indelible markers of Spanish antifeminism, this article examines three of conservatism’s key ideas related to gender: a differentiated consideration of male and female natures; a rejection of feminism; and a conception of the family as the preferred locus for the development of the so-called natural
在20世纪的西班牙,保守的政治意识形态保持着性别话语和女性气质的理想,但基本上没有改变。该国建立的民主政权,首先是在阿方索十三世统治之后,然后是在佛朗哥独裁统治之后,并没有实质性地分裂该国的保守主义,因为其支持者认为妇女应该在社会中发挥作用。为了追溯西班牙反迷你主义不可磨灭的标志,本文考察了保守主义与性别有关的三个关键思想:对男性和女性本性的区别考虑;拒绝女权主义;以及将家庭视为所谓自然发展的首选场所的概念
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引用次数: 2
Spanish colonial architecture as selective authenticity in historical digital games 西班牙殖民建筑在历史数字游戏中的选择性真实性
IF 0.3 4区 历史学 Q1 HISTORY Pub Date : 2020-06-30 DOI: 10.3989/chdj.2020.005
Fede Peñate Domínguez
Buildings play a major role in computer games set in the past, both as gameplay components and as elements of historical realism. Varying on the genre of the game they perform different functions, from the transition and movement possibilities they allow the player in action-adventure games like Assassin’s Creed (Dow, 2013) to sedentary headquarters in strategy and management titles such as Age of Empires and Civilization (Bonner, 2014). My goal with this paper is to analyse the purposes of Spain’s colonial architecture in computer games set in the period of the Spanish Monarchy’s rule overseas. In order to achieve it, I will use Adam Chapman’s theoretical and methodological framework to understand the games’ historical epistemologies and ludonarratives, and Salvati and Bullinger’s concept of selective authenticity to analyse the role of these buildings in evoking the past and giving meaning to it. Aided by these lenses, I will try to unravel the master narratives behind these titles and how they give meaning to the history of Spain and its former colonies.
建筑在以过去为背景的电脑游戏中扮演着重要角色,既是游戏玩法的组成部分,也是历史现实主义的元素。根据游戏类型的不同,它们执行不同的功能,从动作冒险游戏(如《刺客信条》)中的过渡和移动可能性,到战略和管理游戏(如《帝国时代》和《文明》)中的久坐总部。我的目标是分析西班牙殖民建筑在电脑游戏中的目的,设定在西班牙君主制的海外统治时期。为了实现这一目标,我将使用Adam Chapman的理论和方法框架来理解游戏的历史认识论和游戏叙事,以及Salvati和Bullinger的选择性真实性概念来分析这些建筑在唤起过去并赋予其意义方面的作用。借助这些镜头,我将试图解开这些标题背后的主要叙事,以及它们如何赋予西班牙及其前殖民地的历史意义。
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引用次数: 0
Urban archetypes applied to the study of cities in historic contemporary fictions. Symbolic urban structures in Age of Empires III and Bioshock Infinite 城市原型应用于当代历史小说中的城市研究。《帝国时代III》和《生化奇兵:无限》中的象征性城市结构
IF 0.3 4区 历史学 Q1 HISTORY Pub Date : 2020-06-30 DOI: 10.3989/chdj.2020.006
M. Sánchez García
In “The Idea of a Town: Anthropology of Urban Form” (1976), architecture historian Joseph Rykwert defined six archetypes used in Etruscan rites for the foundation of urban settlements, which continued to be used in Classical Greece and Ancient Rome. He proposed to use these same categories for the study of cities in different eras, as a methodology to develop a global urban history. This paper projects Rykwert’s concepts to cities created during the XXI century, specifically those designed for video games with historical themes, and provides the reader with an experimental methodology for assessing digital architectures and environments. Spatial and narrative archetypes will be identified in two different video games, as well as their connections to imaginaries born in the Classic period. In Age of Empires (Ensemble Studios, 1996-2005) urban foundation corresponds to the idea of the town as a place for dominating territory. Their variable structure is grounded on a systemic set of rules that benefits tactic configurations designed by players. In contrast, Bioshock Infinite (Irrational Games, 2013) proposes an immobile storyline built around the city as its leading narrative voice. Its urban spaces direct the action through archetypes such as the “center”, the “labyrinth”, and the “door”.
在《城镇的理念:城市形态的人类学》(1976)中,建筑历史学家Joseph Rykwert定义了伊特鲁里亚仪式中用于城市住区基础的六种原型,这些原型在古典希腊和古罗马继续使用。他建议使用这些相同的类别来研究不同时代的城市,作为发展全球城市史的方法。本文将Rykwert的概念应用于21世纪创建的城市,特别是那些为具有历史主题的电子游戏设计的城市,并为读者提供了评估数字建筑和环境的实验方法。空间和叙事原型将在两款不同的电子游戏中被识别,以及它们与诞生于经典时期的想象的联系。在《帝国时代》(Ensemble Studios, 1996-2005)中,城市基础与城镇作为统治领土的地方的理念相对应。它们的可变结构基于一套有利于玩家设计的战术配置的系统规则。相比之下,《生化奇兵:无限》(Irrational Games, 2013)则将围绕城市构建的固定故事线作为主要叙事声音。它的城市空间通过“中心”、“迷宫”和“门”等原型来指导行动。
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引用次数: 1
Aesthetic uses of the past and limits in the reconstruction of historical spaces inside a videogame 在电子游戏中重建历史空间时对过去的美学运用和限制
IF 0.3 4区 历史学 Q1 HISTORY Pub Date : 2020-06-30 DOI: 10.3989/chdj.2020.004
Alberto Venegas Ramos
Along the last years we have assisted to the release of a great number of videogames set in the past as, for example, Assassin’s Creed: Origins (Ubisoft, 2017). This game offered the player the possibility to tour the city of Alexandria during the first century before Christ. My intention in this text is to develop the use of the past in the reconstruction of urban digital spaces through three video-game sagas, BioShock (Irrational Games y 2K Marin, 2007 – 2013), Uncharted (Naughty Dog, 2006 – 2017) and Assassin’s Creed (Ubisoft, 2007 – 2017). Each one of them will serve us to develop and examine the aesthetic uses of the past in the reconstruction of urban digital spaces through the proposed concepts: design, consumption and production. Irrational Games’ saga will help us to understand the first concept, the Naughty Dog one the second and the Ubisoft one the third. After these three sections we will elaborate a final section where we will build the video-game as a mass culture medium with other media of same scope and shared features.
在过去的几年里,我们协助发布了大量以过去为背景的视频游戏,例如《刺客信条:起源》(育碧,2017)。这款游戏为玩家提供了在基督诞生前的一世纪游览亚历山大城的可能性。我在本文中的意图是通过三部视频游戏传奇,BioShock(非理性游戏y 2K Marin,2007-2013)、Uncharted(顽皮狗,2006-2017)和Assassin’s Creed(育碧,2007-2017),在城市数字空间重建中利用过去。它们中的每一个都将通过提出的概念:设计、消费和生产,为我们发展和审视过去在城市数字空间重建中的美学用途提供服务。非理性游戏的传奇故事将帮助我们理解第一个概念,顽皮狗是第二个,育碧是第三个。在这三个部分之后,我们将详细阐述最后一部分,我们将把电子游戏打造成一种大众文化媒介,与其他范围相同、功能相同的媒介相结合。
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引用次数: 2
Past, present and future of Virtual Reality: Analysis of its technological variables and definitions 虚拟现实的过去、现在和未来:技术变量和定义分析
IF 0.3 4区 历史学 Q1 HISTORY Pub Date : 2020-06-30 DOI: 10.3989/chdj.2020.010
Adriana Paíno Ambrosio, M. I. Rodríguez Fidalgo
Developments in Virtual Reality (VR) technology are currently arousing great scientific interest because in just a few years, VR has found its niche not only in the specialised public, but also in society in general and in different contexts, thanks to its many uses in different contexts and the decreasing price of VR viewing devices. To many, this technology may appear to be a novelty of the 21st century, but its origins go back several decades. Taking into account these aspects, this article aims to analyse the past and present of VR from two perspectives: one focused on its technological development and one on its conceptual evolution. This historical overview, in turn, will allow us to address the future applications of VR in different disciplines. The study provides the reader with an indepth analysis of VR that will contribute to the understanding of this technology and its uses.
虚拟现实(VR)技术的发展目前引起了极大的科学兴趣,因为在短短几年内,VR不仅在专业公众中找到了它的利基,而且在一般社会和不同的环境中找到了它的利基,这得益于它在不同环境中的许多用途和VR观看设备的价格下降。对许多人来说,这项技术似乎是21世纪的新奇事物,但它的起源可以追溯到几十年前。考虑到这些方面,本文旨在从两个角度分析虚拟现实的过去和现在:一个关注它的技术发展,一个关注它的概念演变。这一历史概述,反过来,将使我们能够解决VR在不同学科的未来应用。该研究为读者提供了对VR的深入分析,这将有助于理解这项技术及其用途。
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引用次数: 13
Mass Media and the postmodern urban experience. From Metropolis to Blade Runner; from cinema to virtual reality 大众传媒与后现代都市体验。从大都会到银翼杀手;从电影到虚拟现实
IF 0.3 4区 历史学 Q1 HISTORY Pub Date : 2020-06-30 DOI: 10.3989/chdj.2020.002
Luis Miguel Lus Arana
Since their inception in the XIX Century, mass media have been crucial in shaping the image of the urban environment on our collective subconscious. In the early 20th Century, newspapers and magazines bustled with exacerbated but fascinating images of the city of the future, which appeared as hyperbolic portrayals of the perception that the contemporary citizen had of his own effervescing modern environment. Cinema soon joined this process, as a privileged, mechanical eye that could record, analyse and reinvent the accelerated modern city and its evolution. Fritz Lang’s Metropolis (1926) epitomized the powers of the new medium, providing the viewers with a window that allowed them to see this Lacanian Other come alive, somehow encapsulating their own experience of the new urban reality. Over half a century later films such as Alien (1979) and Blade Runner (1982) took the torch as fictional future representations of postmodern space that provided the postmodern citizen with a suitably hyper-real substitute of reality. Three decades after that, the videogames and virtual reality experiences based on those very films promise to break the final barrier, allowing us to cross to the other side of the membrane, and freely move through that which is, literally, an augmented reality.
自19世纪成立以来,大众媒体在塑造我们集体潜意识中的城市环境形象方面发挥了至关重要的作用。在20世纪初,报纸和杂志充斥着对未来城市的渲染但引人入胜的图像,这些图像似乎是对当代公民对自己活跃的现代环境的夸张描绘。电影很快就加入了这一过程,成为一只特权的机械眼,可以记录、分析和重塑加速的现代城市及其演变。Fritz Lang的《大都会》(1926)集中体现了新媒体的力量,为观众提供了一扇窗户,让他们看到这个拉康的他者活了起来,以某种方式封装了他们自己对新城市现实的体验。半个多世纪后,《异形》(1979年)和《银翼杀手》(1982年)等电影将火炬作为后现代空间的虚构未来表征,为后现代公民提供了一个合适的超现实的现实替代品。三十年后,基于这些电影的视频游戏和虚拟现实体验有望打破最后的障碍,让我们能够穿越到膜的另一边,自由地穿过增强现实。
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引用次数: 2
Swiss humanitarian aid during the Spanish Civil War: The journey of Anna Siemsen and Regina Kägi-Fuchsmann 西班牙内战期间的瑞士人道主义援助:安娜·西姆森和里贾纳的旅程Kägi-Fuchsmann
IF 0.3 4区 历史学 Q1 HISTORY Pub Date : 2019-12-30 DOI: 10.3989/chdj.2019.018
Luís Manuel Calvo Salgado
Anna Siemsen’s and Regina Kagi-Fuchsmann’s journey to Spain in May 1937 resulted in two accounts regarding their experiences and views of Swiss humanitarian aid in the Civil War. The comparison between these two narratives makes it possible to study the role and the expression of fear, sadness and indignation at the bombing and the forced displacement of the civil population during the war. They are shared emotions yet expressed by each one in different ways depending on the function of their ideas and their perceptions. The empathy with the displaced people, especially with the children evacuated from Madrid to Valencia and Catalonia, is the main motivation of the participants in the Swiss humanitarian aid to Republican Spain, which raises some moral dilemmas. This empathy is furthermore characterized by a strong sympathy for the civil, social and democratic values represented by the Spanish Republic. Anna Siemsen’s and Regina Kagi-Fuchsmann’s religious and ideological beliefs, however, establish the limits of their empathy.
安娜·西姆森(Anna Siemsen)和里贾纳·卡吉-福希曼(Regina Kagi-Fuchsmann) 1937年5月的西班牙之旅产生了两篇关于他们在内战中瑞士人道主义援助的经历和看法的文章。这两种叙述之间的比较使我们有可能研究战争期间轰炸和平民被迫流离失所时恐惧、悲伤和愤慨的作用和表达。它们是共同的情感,但每个人都以不同的方式表达,这取决于他们的想法和看法的功能。对流离失所者的同情,特别是对从马德里撤离到瓦伦西亚和加泰罗尼亚的儿童的同情,是瑞士对共和国西班牙的人道主义援助参与者的主要动机,这引发了一些道德困境。这种同情还表现为对西班牙共和国所代表的公民、社会和民主价值的强烈同情。然而,安娜·西姆森(Anna Siemsen)和里贾纳·卡吉-福希曼(Regina Kagi-Fuchsmann)的宗教和意识形态信仰确定了她们的同理心的局限性。
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引用次数: 1
Swiss Humanitarian Aid in Spain and Southern France through Paul Senn’s camera (1937-1942) 通过保罗·森的相机拍摄的瑞士在西班牙和法国南部的人道主义援助(1937-1942)
IF 0.3 4区 历史学 Q1 HISTORY Pub Date : 2019-12-30 DOI: 10.3989/chdj.2019.020
Natascha Schmöller
The aim of this article is to provide a brief biography of the Swiss photographer Paul Senn, and through the analysis of his photographic journalism resulting from his trips to Spain from 1937 to 1939, add a nuance from the visual perspective of the Civil War and Swiss humanitarian aid for the victims in situ. His photography kept track of both the Republican victims during “La Retirada” as well as of the refugees from Nazism in the South of France during 1942. His aim was to document the historical facts for Swiss readers, potential donors and affiliates of humanitarian aid. The final caption of a published photograph reinforces the compositional resources that Paul Senn employed to foster empathy with the homeless.
这篇文章的目的是提供一个瑞士摄影师保罗·森的简短传记,并通过分析他1937年至1939年在西班牙旅行的摄影新闻,从内战和瑞士对现场受害者的人道主义援助的视觉角度添加细微差别。他的摄影记录下了“La Retirada”期间的共和党受害者,以及1942年法国南部纳粹主义的难民。他的目的是为瑞士读者、潜在的捐助者和人道主义援助的附属机构记录历史事实。一张已发表照片的最后标题强化了Paul Senn用来培养对无家可归者的同情的构图资源。
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引用次数: 1
期刊
Culture & History Digital Journal
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