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Academic literature on the topic 'Anachronisms'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Anachronisms"

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Vansina, Jan. "Useful Anachronisms: The Rwandan Esoteric Code of Kingship." History in Africa 27 (January 2000): 415–21. http://dx.doi.org/10.2307/3172122.

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Any mention in a text to something demonstrably more recent than its attributed date of composition is an anachronism. The presence of an anachronism is absolute proof that the purported date given for the redaction of the final the text is wrong and that the real date occurred later than the date implied by the anachronism. In rare cases an anachronism can also occur in reverse, namely, when it can be shown that the anachronism implies the presence of something (an archaism, a practice) which had been replaced or had disappeared by the purported date for the manuscript. Anachronisms can be very useful both to date a document and in some cases to show us something about the dynamics involved in the creation of a text. The detection of anachronisms is common with regard to written documents, but they can also be used for the study of oral documents which have been memorized word by word, especially when only one version of such documents has survived. That is the case for the Rwandan esoteric code of kingship, which yields an excellent example of how a systematic search for anachronisms throws light on such a document and allows a historian to use its contents with much greater confidence than was the case otherwise.Ubwiiru is the name given in Rwanda to a set of eighteen pieces in prose, called “roads” or “ways,” which vary in length between 74 and 1252 lines and were learned by heart since “immemorial times” by specialists called abiiru.

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Nathan, Olivia. "Anachronisms." Sewanee Review 132, no. 1 (January 2024): 71–91. http://dx.doi.org/10.1353/sew.2024.a919139.

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Giovenale, Marco. "from anachronisms." Capitalism Nature Socialism 22, no. 1 (March 2011): 119. http://dx.doi.org/10.1080/10455752.2010.546665.

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Aistara, Guntra A. "Authentic Anachronisms." Gastronomica 14, no. 4 (2014): 7–16. http://dx.doi.org/10.1525/gfc.2014.14.4.7.

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This article explores the relationship between Soviet and pre-Soviet histories in the reinvention of traditional foods in Latvia, with particular attention to how these products are transformed into new commodity forms. It focuses on regional home-baked breads and local wines produced from grapes grown in western Latvia. Both of these revivals of culinary heritage engage in complex and contradictory processes of “authentification” by taking an historical artifact—such as a recipe, a piece of equipment, or an ancient tale—and consciously crafting the missing pieces around it to produce an authentic food product, one that includes seemingly anachronistic elements of different eras. The result is a material and symbolic bricolage (Lévi-Strauss 1966) that represents both producers’ and consumers’ innovative efforts to preserve or redefine livelihoods in times of change, and to negotiate complicated cultural memories of various pasts. Rather than dismissing seemingly out-of-place elements as “tampering with tradition,” I show how they are the very foundation of authenticity. I argue that the authenticity of homemade foods, like bread, is based on acknowledging the seemingly misplaced Soviet elements of the processes alongside the “ancient” recipes and modern European infrastructure, while in the case of wine we see an effort to forget the Soviet past and leapfrog to a European future. The fate of such claims, however, depends on the social networks through which the products circulate, as informal networks for home-baked breads become professionalized, and entirely new networks of connoisseurs are created who are interested in following the fate of attempts to grow “real” European wines in Latvia.

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Hanson, Lenora. "“Ludicrous Anachronisms”." Comparative Literature 72, no. 2 (June 1, 2020): 159–79. http://dx.doi.org/10.1215/00104124-8127449.

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Abstract This article proposes that eighteenth-century and Romantic-era accounts of dreams offer a useful model for understanding the phenomenon of enclosure, or what Marx famously labeled “so-called primitive accumulation.” Rather than a historical event or a set of particular laws, enclosure can be understood as a process by which gendered labor and criminalized mobility, two forms of what Marxist critics call “non-work,” became integral features of capital accumulation over the course of the Romantic period. This article pursues an analogy between what John Hunter defined as the “ludicrous anachronisms” of dreams and such forms of “non-work” as they appear in Mary Robinson’s 1791 poem “The Maniac.” Framed as an opium-induced dream that enables Robinson to share a psycho-physiological state akin to the wanderer “mad Jemmy,” Robinson forges relations between the poet and Jemmy that complicate any straightforward or sympathetic identification. Instead, her use of rhetorical indirection and inversion establishes analogies between the two through the effects of enclosure, highlighting the ambivalent ways in which subjects came to be indirectly related to one another through an historical inversion of their means of subsistence into conditions of vulnerability.

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Malone, Andrew S. "Acceptable Anachronism in Biblical Studies." Bible Translator 67, no. 3 (December 2016): 351–64. http://dx.doi.org/10.1177/2051677016671992.

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For the most part, biblical scholars have joined their secular counterparts in being vigilant—and even vigilantes—against anachronistic thinking and language. However, Scripture itself models a variety of apparently intentional anachronisms, such as the introducing of updated equivalents or of outdated archaisms. Such occurrences in both the Old and New Testaments invite us to revisit this complex phenomenon and to consider what anachronism (or some fresh, less pejorative designation) might contribute to our own contemporary interpretation and translation of the Bible.

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Z. Brower, A. V. "Net-Wielding Anachronisms?" Science 282, no. 5391 (November 6, 1998): 1047d—1047. http://dx.doi.org/10.1126/science.282.5391.1047d.

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Rubin, Miri. "Presentism’s Useful Anachronisms*." Past & Present 234, no. 1 (January 29, 2017): 236–44. http://dx.doi.org/10.1093/pastj/gtw057.

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Bullimore, Mark A. "Acronyms and Anachronisms." Optometry and Vision Science 77, no. 5 (May 2000): 223. http://dx.doi.org/10.1097/00006324-200005000-00001.

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Reider, Bruce. "Acronyms and Anachronisms." American Journal of Sports Medicine 36, no. 11 (November 2008): 2081–82. http://dx.doi.org/10.1177/0363546508326370.

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Dissertations / Theses on the topic "Anachronisms"

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Buhre, Frida. "Speaking the Anachronisms : Arendt, Politics, Temporality." Licentiate thesis, Uppsala universitet, Avdelningen för retorik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-271591.

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Roquet, Nicholas. "Life in costume:the architecural fictions and anachronisms of William Burges." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103483.

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This dissertation examines the uses and purposes of history in the graphic works and the domestic interiors of nineteenth-century British architect William Burges (1827-1881). Burges is recognized in contemporary historiography as one of the major figures of the Gothic Revival in Britain—in particular the period of stylistic eclecticism and experimentation known as High Victorian Gothic (circa 1850-1870)—but his work has frequently been faulted for a lack of authenticity. In a marking series of studies on historical representation begun in the 1980s, art historian Stephen Bann has claimed that all encounters with the past are ultimately personal in nature. Building on this hypothesis, the author of the dissertation argues that Burges's interiors and decorative objects constitute the visible trace of a life-long quest for identity. The research project first examines Burges's connections to a tradition of antiquarian scholarship. It then traces the nature of Burges's identification with the medieval past over a period of approximately twenty years, from the initial ordering of his topographical albums (circa 1858) to the building of his home of Tower House in London (1875-1878). The author works with notions of fantasy, dream, and fiction to explain the relation between this nineteenth-century architect and his medieval persona, as well as that between his historicist decors and their architectural support. In the context of this research, a fiction is conceived as a world made up of elements both imaginary and real, but which operates under different rules than external reality.
Cette dissertation analyse l'utilisation et le sens de l'histoire dans les œuvres graphiques et les décors intérieurs d'un architecte britannique du XIXe siècle, William Burges (1827-1881). Burges est reconnu par l'historiographie contemporaine comme l'un des acteurs majeurs du mouvement néogothique en Angleterre, particulièrement de la phase éclectique et expérimentale connue sous le nom de « High Victorian » (circa 1850-1870). Pourtant, son travail a souvent été taxé d'inauthenticité. Au fil d'études marquantes sur les représentations de l'histoire qu'il a entamées vers 1980, l'historien de l'art Stephen Bann a affirmé que toute rencontre avec le passé est ultimement de nature personnelle. S'appuyant sur cette hypothèse, l'auteur de la dissertation argumente que les intérieurs et les objets décoratifs de Burges constituent la trace visible d'une longue quête d'identité. La recherche aborde en premier le rapport qu'entretient Burges avec la tradition historiographique des antiquaires. Elle retrace ensuite sur une période de vingt ans le processus par lequel Burges s'identifie avec le passé médiéval – soit d'une première mise en ordre de ses albums topographiques (vers 1858) à la construction de Tower House, sa maison à Londres (1875-1878). L'auteur utilise les notions de fantasme, de rêve et de fiction pour expliquer la relation entre cet architecte du XIXe siècle et son alter ego médiéval, ainsi qu'entre ses décors historicistes et leur support architectural. Dans le contexte de cette recherche, la fiction est comprise comme un monde constitué d'éléments imaginaires et réels, mais qui opère selon des règles différentes de la réalité quotidienne.

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Lima, Ãrico Oliveira de AraÃjo. ""Numa cama, numa festa, numa greve, numa revoluÃÃo: o cinema se bifurca, o tempo se abre"." Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=11842.

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CoordenaÃÃo de AperfeiÃoamento de NÃvel Superior
Numa cama, numa greve, numa festa ou numa revoluÃÃo: era assim que Glauber Rocha imaginava que A Idade da Terra (1980), seu Ãltimo filme, poderia ser experimentado. A obra leva ao limite um processo de pesquisa que radicalizava o fazer cinema e inventava novos possÃveis para a experiÃncia estÃtica. Ã um trabalho que tento pensar junto a duas outras obras do realizador, Claro (1975), filmado durante o exÃlio em Roma, e Di Cavalcanti (1977), curta-metragem que ele produziu no impulso, ao saber da morte do amigo pintor. Cada um desses filmes desencadeia procedimentos singulares de ocupaÃÃo do mundo e de invenÃÃo de caminhos para o cinema. Eles sÃo entendidos aqui como bifurcaÃÃes em formas configuradas de sensibilidade, na medida em que embarcam na proliferaÃÃo de veredas para a fabricaÃÃo fÃlmica. Trata-se de uma preocupaÃÃo mais ampla em discutir as polÃticas dos filmes, maneiras singulares pelas quais o cinema pode inscrever no mundo uma operaÃÃo de rotura estÃtica que Ã jÃ uma polÃtica. Nesse sentido, cabe pensar com as obras algumas figuras que afirmam o cinema como campo de resistÃncias. Uma das questÃes que norteiam as discussÃes deste trabalho Ã a dimensÃo de um devir minoritÃrio, pensado a partir de Deleuze e Guattari, um movimento no qual o cinema pode se engajar para tensionar com um visÃvel e um audÃvel que se apresentam como fatos majoritÃrios. Nesse processo, Ã a prÃpria vida em comum que estÃ em jogo. Essas operaÃÃes de invenÃÃo se dÃo em um emaranhado de temporalidades, o que leva a uma abordagem metodolÃgica que se coloca como assumidamente anacrÃnica, na medida em que tenta pensar o que uma obra faz agitar no tempo e como ela pode fazer esse tempo se abrir, numa articulaÃÃo que tento fazer com os pensamentos de Benjamin, Warburg, Didi-Huberman e Agamben. Dessa maneira, cabe investigar a dimensÃo de uma contemporaneidade desse cinema de Glauber, na medida em que as proliferaÃÃes buscadas pelas formas fÃlmicas nÃo estÃo circunscritas a um instante de uma cronologia de eventos sucessivos, mas se espalham rizomaticamente pelos tempos, em movimento proliferante e diferenciante. A polÃtica e a estÃtica seriam questÃes de como fazemos pontes nas temporalidades, de quais traÃados sÃo arrancados como possÃveis. Ou de como os engajamentos no tempo podem suscitar acontecimentos e instaurar resistÃncias em devir.
In a bed, a strike, a party or a revolution: that was how Glauber Rocha once thought that his last film, A Idade da Terra (1980), could be experienced. The work takes to the limit a research that turns making cinema a process more radical. It also invents news possibilities to aesthetic experience. Itâs a film that I try to think with two others works from Glauber: Claro (1975), shot when he was in exile in Rome, and Di Cavalcanti (1977), a short film that he produced on an impulse, when he heard that his painter friend had died. Each of these films triggers singular procedures on occupying the world and on inventing paths to the cinema. They are taken here as bifurcations on configured forms of sensibility, as they try to proliferate ways of making a film. This is a broader concern in discussing the politics of films, singular ways in which cinema can inscribe in the world an operation of aesthetic fracture that is already political. In this sense, it is thinking with the works that we can propose some figures who claim cinema as field of resistances. One of the questions that guide the discussions of this work is the concept of a becoming minority, thought from Deleuze and Guattari, a movement in which cinema can engage to create tension with a visible and an audible that present themselves as major facts. In this process, it is common life that is at stake. Those operations of invention are taken in a entanglement of temporalities, which leads to an approach frankly anachronistic, on thinking what a work can shake in time and how it can open this time, in which I try to articulate with the thoughts of Benjamin, Warburg, Didi-Huberman and Agamben. Thus, the idea is to investigate how we could consider a contemporaneity in this cinema of Glauber, in that the proliferations researched by filmic forms are not restricted to a chronology of successive events, rather they spread in a rhizomatic way through temporalities, a proliferative and differentiating movement. Politics and aesthetics would be questions of how we bridge the temporalities, of which tracings are turn into possibilities. Or how the engagements in time can raise events and create resistances in becoming.

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Lima, Érico Oliveira de Araújo. "Numa cama, numa festa, numa greve, numa revolução: o cinema se bifurca, o tempo se abre." www.teses.ufc.br, 2014. http://www.repositorio.ufc.br/handle/riufc/8575.

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LIMA, Érico Oliveira de Araújo. Numa cama, numa festa, numa greve, numa revolução: o cinema se bifurca, o tempo se abre. 2014. 208f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2014.
Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-04T14:59:11Z No. of bitstreams: 1 2014_dis_eoalima.pdf: 1651935 bytes, checksum: 4bd50acc541319d070f4328aa52784d1 (MD5)
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Made available in DSpace on 2014-08-04T17:22:26Z (GMT). No. of bitstreams: 1 2014_dis_eoalima.pdf: 1651935 bytes, checksum: 4bd50acc541319d070f4328aa52784d1 (MD5) Previous issue date: 2014
In a bed, a strike, a party or a revolution: that was how Glauber Rocha once thought that his last film, A Idade da Terra (1980), could be experienced. The work takes to the limit a research that turns making cinema a process more radical. It also invents news possibilities to aesthetic experience. It’s a film that I try to think with two others works from Glauber: Claro (1975), shot when he was in exile in Rome, and Di Cavalcanti (1977), a short film that he produced on an impulse, when he heard that his painter friend had died. Each of these films triggers singular procedures on occupying the world and on inventing paths to the cinema. They are taken here as bifurcations on configured forms of sensibility, as they try to proliferate ways of making a film. This is a broader concern in discussing the politics of films, singular ways in which cinema can inscribe in the world an operation of aesthetic fracture that is already political. In this sense, it is thinking with the works that we can propose some figures who claim cinema as field of resistances. One of the questions that guide the discussions of this work is the concept of a becoming minority, thought from Deleuze and Guattari, a movement in which cinema can engage to create tension with a visible and an audible that present themselves as major facts. In this process, it is common life that is at stake. Those operations of invention are taken in a entanglement of temporalities, which leads to an approach frankly anachronistic, on thinking what a work can shake in time and how it can open this time, in which I try to articulate with the thoughts of Benjamin, Warburg, Didi-Huberman and Agamben. Thus, the idea is to investigate how we could consider a contemporaneity in this cinema of Glauber, in that the proliferations researched by filmic forms are not restricted to a chronology of successive events, rather they spread in a rhizomatic way through temporalities, a proliferative and differentiating movement. Politics and aesthetics would be questions of how we bridge the temporalities, of which tracings are turn into possibilities. Or how the engagements in time can raise events and create resistances in becoming.
Numa cama, numa greve, numa festa ou numa revolução: era assim que Glauber Rocha imaginava que A Idade da Terra (1980), seu último filme, poderia ser experimentado. A obra leva ao limite um processo de pesquisa que radicalizava o fazer cinema e inventava novos possíveis para a experiência estética. É um trabalho que tento pensar junto a duas outras obras do realizador, Claro (1975), filmado durante o exílio em Roma, e Di Cavalcanti (1977), curta-metragem que ele produziu no impulso, ao saber da morte do amigo pintor. Cada um desses filmes desencadeia procedimentos singulares de ocupação do mundo e de invenção de caminhos para o cinema. Eles são entendidos aqui como bifurcações em formas configuradas de sensibilidade, na medida em que embarcam na proliferação de veredas para a fabricação fílmica. Trata-se de uma preocupação mais ampla em discutir as políticas dos filmes, maneiras singulares pelas quais o cinema pode inscrever no mundo uma operação de rotura estética que é já uma política. Nesse sentido, cabe pensar com as obras algumas figuras que afirmam o cinema como campo de resistências. Uma das questões que norteiam as discussões deste trabalho é a dimensão de um devir minoritário, pensado a partir de Deleuze e Guattari, um movimento no qual o cinema pode se engajar para tensionar com um visível e um audível que se apresentam como fatos majoritários. Nesse processo, é a própria vida em comum que está em jogo. Essas operações de invenção se dão em um emaranhado de temporalidades, o que leva a uma abordagem metodológica que se coloca como assumidamente anacrônica, na medida em que tenta pensar o que uma obra faz agitar no tempo e como ela pode fazer esse tempo se abrir, numa articulação que tento fazer com os pensamentos de Benjamin, Warburg, Didi-Huberman e Agamben. Dessa maneira, cabe investigar a dimensão de uma contemporaneidade desse cinema de Glauber, na medida em que as proliferações buscadas pelas formas fílmicas não estão circunscritas a um instante de uma cronologia de eventos sucessivos, mas se espalham rizomaticamente pelos tempos, em movimento proliferante e diferenciante. A política e a estética seriam questões de como fazemos pontes nas temporalidades, de quais traçados são arrancados como possíveis. Ou de como os engajamentos no tempo podem suscitar acontecimentos e instaurar resistências em devir.

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Wolf, Salome. "Rechtsirrtum im Privatrecht : Argument oder Anachronismus? /." Basel [u.a.] : Helbing & Lichtenhahn, 2003. http://www.gbv.de/dms/spk/sbb/recht/toc/374662673.pdf.

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Poulard, Étienne. "Untimely aesthetics : Shakespeare, anachronism and prescence." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/53954/.

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For many critics, Hamlet’s famous dictum that ‘The time is out of joint’ is to be read as a social comment on Shakespeare’s own historical moment (Hamlet, 1.5.189). Generally thought to have been written around the same period as Hamlet, Julius Caesar contains a similar statement—‘it is a strange-disposèd time,’ Cicero remarks early on in the play (1.3.33). In 1599: A Year in the Life of William Shakespeare, James Shapiro suggests that, far from being coincidental, this recurring untimeliness in fact pervades the plays Shakespeare wrote at the turn of the seventeenth century—and most notably Henry V, Julius Caesar and Hamlet. For Shapiro, the many anachronisms that can be found in those plays point to a shared, objective core of historical reality (‘Shakespeare came of age when time itself was out of joint,’ the critic argues). The idea that the ultimate meaning of Shakespeare’s dramas is inextricably bound up with the late Elizabethan (or early Jacobean) moment of their production is a central tenet of historicist criticism. Largely due to the hegemonic status of new historicism in the field of Shakespeare studies in the last thirty years or so, this mode of criticism has become, to a great extent, normative. The present work takes issue with the systematic approach that consists in viewing Shakespeare’s plays as mere reflections of an overarching, ‘objective’ historical reality. Specifically, the thesis challenges the default historicist framework in which many of Shakespeare’s plays have been embedded. Thus, Julius Caesar, Hamlet and Henry V are here looked at with a large emphasis on the present of interpretation (as opposed to the authorial moment). A key thread of the thesis is the sense that the meaning of these plays is directly determined by the criticism. In other words, their meaning is essentially constructed in the present—a fundamentally unfixed and ever-moving category. Accordingly, alleged anachronisms are here viewed as by-products of this subjective present. Rather than expressing the objective historical ‘real’ of the dramas, such anachronisms are considered to testify to the intrusion of the viewer within the literary scene. This implies that the dramas are always already infected not so much by their author’s historical moment but by the eye of the critic itself. At the heart of the thesis is the sense that Shakespearean drama can be viewed through the grid of an aesthetics of untimeliness, which manifests itself in various ways. The coexistence of multiple presents of interpretation within the hermeneutic field of the plays is one of the ways in which such an aesthetics can be experienced. For instance, the colossal criticism of Hamlet guarantees that no one historical elucidation of the play can prevail. Alternatively, the diegetic content of the plays can also be used to support the idea of an untimely aesthetics. On many occasions, Shakespeare’s dramas comment on the inherent disjunction that alienates them from the historical past which they (supposedly) purport to stage—this is generally done through the medium of key metadramatic characters like the Chorus in Henry V. In either case, complete historical presence is negated. Thus, the thesis posits the impossibility of presence—or untimeliness—as a valid aesthetic category in view of Shakespeare’s dramas. Each individual chapter illustrates how the dramas can be said to aestheticise the intrinsically differential quality of literature. Ultimately, the thesis also emphasises how différance, to use Jacques Derrida’s celebrated coinage, lies at the heart not only of literature but of all forms of staged entertainment.

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Barker, Tonia G. "Penal colonies for Canada promise or anachronism?" Thesis, University of Ottawa (Canada), 1986. http://hdl.handle.net/10393/4592.

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Bermúdez, Cubas Yaiza. "La música clásica preexistente en el cine ambientado en la segunda mitad del siglo XVIII. Usos estéticos, tópicos y anacronismos." Doctoral thesis, Universitat Ramon Llull, 2014. http://hdl.handle.net/10803/273772.

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Aquesta investigació pretén realitzar un estudi sobre els usos de determinades composicions clàssiques preexistents en pel·lícules històriques ambientades a la segona meitat del segle XVIII. Des d’aquesta franja temporal, pretenem demostrar quines són les relacions que es produeixen entre l’anomenada música del classicisme tal i com se la considera de de la musicologia tradicional i les pel·lícules que recreen aquesta època, a saber, la Il·lustració i Revolució respectivament.
Esta investigación pretende realizar un estudio sobre los usos de determinadas composiciones clásicas preexistentes en películas históricas ambientadas en la segunda mitad del siglo XVIII. Desde esta franja temporal, pretendemos demostrar cuáles son las relaciones que se producen entre la llamada música del clasicismo tal y como se le considera desde la musicología tradicional y las películas que recrean esta época, a saber, Ilustración y Revolución respectivamente.
This research looks forward to make a study of the uses of determined preexisting classical composition settled in the second half of the XVIII century in historical movies. From this timeframe, what we hope is to demonstrate which are the relationships that come to life between the classicism music as its considered by traditional musicology and the recreational movies of the Illustration and Revolution respectively.

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Lee, Zane Gardner. "Social identities within the Society for Creative Anachronism." Thesis, Texas A&M University, 2005. http://hdl.handle.net/1969.1/3148.

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This research investigated the issue of identity within a historical reenactment group called the Society for Creative Anachronism, the SCA. This international organization numbering in the tens of thousands of participants offered an unusual setting with which to investigate the issue of identities due to identities' fluid nature among SCA members. Whether or not a member was satisfied with their modern world identity, members were free to create a medieval persona, an identity based on a medieval time and culture. Identity Theory provided the conceptual framework to analyze and understand the nature of transient identities that become more permanent through continued participation within the organization. Research hypotheses examined the relationships between subjects' perceived feelings of belonging and their participation in the organization, perceived sense of emotional closeness with subjects' biological family and their participation as well as the relationship between subjects' occupational prestige ranking and their degree of involvement in the SCA. It was found that subjects' participation within the SCA was significantly impacted by perceived sense of belonging within the group as well as by occupational prestige ranking.

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Van, Beuren Grayson Carter Vignot. "John Tenniel and Technology: Anachronism and Social Meaning." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/71793.

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Sir John Tenniel worked for the Victorian magazine Punch for over fifty years, from 1850 to 1901, and served as head cartoonist for the latter thirty-seven years of his tenure at the magazine. Tenniel's cartoons effectively became the heart of Punch's visual lineup, and the sentiments expressed by these cartoons both reflected and influenced the opinions of the magazine']s vast middle class readership. However, they did not generally reflect the opinions of the cartoonist himself: Tenniel had little to no say in decisions regarding the content or stance of his cartoons. The artist ostensibly had no problem with this arrangement, once telling a historian, "As for political opinions, I have none… [I] profess only those of my paper." This project argues that the artist did indeed inject a degree of personal opinion into his work, albeit in hidden and unconscious ways. Instead of using the medium of cartoons as an overt vehicle for his opinion, Tenniel's values and views come out in his use of iconography and his choice of models for his drawings. As a conservative Victorian man operating in the rapidly changing world of the latter nineteenth century, Tenniel used his drawings as a way to tap into the England of his youth and possibly reclaim the art world he originally studied to join as a young man. His iconography frequently looked back to medieval England, framing current events within these themes until the end of his career. Furthermore, Tenniel doggedly refused to update his mental drawing models for certain forms of technology, even when his depictions became obviously anachronistic. This thesis examines these tendencies through the threefold lenses of Material Culture Studies, Social Constructivism, and Nostalgia Studies in an attempt to link Tenniel's treatment of medieval iconography and depiction of modern technology with the nostalgic past.
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Books on the topic "Anachronisms"

1

Hinz, Christopher. Anachronisms. London: Mandarin, 1989.

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Barlow, Connie C. The Ghosts of Evolution: Nonsensical Fruit, Missing Partners, and Other Ecological Anachronisms. New York: Basic Books, 2000.

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Tarkos, Christophe. Anachronisme. Paris: P.O.L., 2000.

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Mateer, John. Anachronism. South Fremantle, W.A: Fremantle Arts Centre Press, 1997.

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1927-, Wang Yongnian, ed. 小径分岔的花园: 博尔赫斯小说集. Hang zhou: Zhe jiang wen yi chu ban she, 1999.

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Luis, Borges Jorge. Die zwei Labyrinthe Lesebuch. 2nd ed. Munchen: Deutscher Taschenbuch Verlag, 1988.

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Dies Romanicus Turicensis (5th 2009 Zurich, Switzerland). Anachronismen =: Anachronismes = Anacronismi = Anacronismos : atti del V Dies Romanicus Turicensis, Zurigo 19-20 giugno 2009. Pisa: ETS, 2011.

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Cristina, Albizu, ed. Anachronismen =: Anachronismes = Anacronismi = Anacronismos : atti del V Dies Romanicus Turicensis, Zurigo 19-20 giugno 2009. Pisa: ETS, 2011.

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Brown, N. P. Landscape designation: An anachronism?. Oxford: Oxford Brookes University, 1996.

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Universiteit Antwerpen. Onderzoeksgroep Sociale Concurrentie en Recht, ed. Standard work: An anachronism? Antwerp [Belgium]: Intersentia, 2013.

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Book chapters on the topic "Anachronisms"

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Hope-Simpson, R. Edgar. "Influenzal Anachronisms." In The Transmission of Epidemic Influenza, 185–89. Boston, MA: Springer US, 1992. http://dx.doi.org/10.1007/978-1-4899-2385-1_15.

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Hoskins, Andrew. "Anachronisms of Media, Anachronisms of Memory: From Collective Memory to a New Memory Ecology." In On Media Memory, 278–88. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307070_21.

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Mullan, Sarah. "Queer Anachronisms: Reimagining Lesbian History in Performance." In Queer Dramaturgies, 244–56. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137411846_14.

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Goffart, Walter. "Hetware and Hugas: Datable Anachronisms in Beowulf." In Barbarians, Maps, and Historiography, 245–62. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417644-14.

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Moeini, Seyed Hossein Iradj, Mehran Arefian, Bahador Kashani, and Golnar Abbasi. "Final Reflections: Anachronisms, Ever-Present Questions and Specificities." In Urban Culture in Tehran, 167–68. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65500-0_5.

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Corsi, Cecilia. "La cittadinanza come politica pubblica tra ius sanguinis, ius soli e ius culturae." In Studi e saggi, 53–74. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0112-4.10.

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The contribution aims to offer a critical analysis of the Italian discipline on the ways of acquiring citizenship. The paper analyzes the most problematic aspects of the 1992 law, showing its anachronisms and unreasonableness, and then highlights the profiles that most need reform. In particular, the status of the minor born or schooled in Italy and the naturalization procedure claim a profound revision.

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Vogman, Elena. "Language Follows Labour." In Materialism and Politics, 113–32. Berlin: ICI Berlin Press, 2021. http://dx.doi.org/10.37050/ci-20_06.

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This chapter invites the reader to rediscover Nikolai Marr’s scientific work, which is situated at the intersection of archaeology, linguistics, and anthropological language theory. Marr’s linguistic models, which Sergei Eisenstein compared to a reading of Joyce’s Ulysses, underwent however multiple waves of critique. His heterodox materialism, originating in an archaeological vision of history and leading to a speculative ‘palaeontology of speech’, reveals a complex vision of time, one traversed by ‘survivals’ and anachronisms.

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Rinnert, K. J., J. G. Wigginton, and P. E. Pepe. "Catastrophic Anachronisms: The Past, Present and Future of Disaster Medicine." In Yearbook of Intensive Care and Emergency Medicine, 761–72. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/3-540-33396-7_72.

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Peterson, Lorna M. "A Case of Chronic Anachronisms: Doris Lessing and the USSR." In In Pursuit of Doris Lessing, 142–57. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20754-1_10.

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Rinnert, K. J., J. G. Wigginton, and P. E. Pepe. "Catastrophic Anachronisms: The Past, Present and Future of Disaster Medicine." In Intensive Care Medicine, 761–72. New York, NY: Springer New York, 2006. http://dx.doi.org/10.1007/0-387-35096-9_72.

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Conference papers on the topic "Anachronisms"

1

WHITNEY, CYNTHIA KOLB. "What Physics Needs Today: A Few Good Anachronisms." In Unified Field Mechanics II: Preliminary Formulations and Empirical Tests, 10th International Symposium Honouring Mathematical Physicist Jean-Pierre Vigier. WORLD SCIENTIFIC, 2017. http://dx.doi.org/10.1142/9789813232044_0045.

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Bauer, Lujo, Lorrie Faith Cranor, Saranga Komanduri, Michelle L. Mazurek, Michael K. Reiter, Manya Sleeper, and Blase Ur. "The post anachronism." In CCS'13: 2013 ACM SIGSAC Conference on Computer and Communications Security. New York, NY, USA: ACM, 2013. http://dx.doi.org/10.1145/2517840.2517859.

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Keslacy, Elizabeth M. "Productive Anachronism: Paper Quilling and the Craft of Architectural Representation." In 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.34.

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The materials and techniques that we use to create architectural representations undoubtedly affect how we apprehend the work of architecture being depicted. By analogy, if we consider Leonardo da Vinci’s oil-on-poplar depiction of Lisa Gherardini next to a pencil sketch, a comic-book style half-tone, and a graffiti-based interpretation of the Mona Lisa, it’s clear that each medium maintains its own set of associations, while, at the same time, clearly communicates its content and reference. The medium is not perhaps the whole message, but it is an important component of our experience of images and drawings.It is also true that the choice of a particular mode of drawing during the design process can profoundly shape the object being designed. Any student of architecture can rattle off the implications of choosing Rhino, Sketch-Up, Maya, AutoCad, or Revit to work through an architectural design problem, particularly in terms of the forms and details that each software facilitates easily or with difficulty. Robin Evans’ insights about drawing’s fundamental difference from its content, and yet the agency it maintains in the shaping of that content, turns out to be just as true in the digital age as it was in the era of hand drawing.1 Unfortunately, the professional trend toward hyperreal image-making has meant concealing the drawing’s own construction processes and neutering its space-generating potential. The speculative and uncertain nature of hand-production is sublimated in favor of the glossy render that makes the proposed appear as already-real. The pendulum is already swinging away from this tendency in some academic and professional circles, largely under the banner of the post-digital.2 Despite a return to orthography, collage, and an “illustrated” rather than “rendered” sensibility, the so-called post-digital largely remains stubbornly digital. How, in a world saturated with Instagram-worthy architectural images, can we teach our students to reinvest in a drawing-based design process that is experimental and open-ended? How can drawing itself be reinvigorated both in terms of its representational agency and its abilities to produce new kinds of form and space?

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Vidotto, Ilaria. "Anachronies proustiennes : discontinuité temporelle et (dis-)continuité narrative." In La dis/continuité textuelle. Fabula, 2022. http://dx.doi.org/10.58282/colloques.8170.

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Kemp, Jason. "Space Flight Entity Exculpation from Liability: Florida's Anachronism in the Making." In AIAA SPACE 2014 Conference and Exposition. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2014. http://dx.doi.org/10.2514/6.2014-4447.

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H. B., Lystvak, and Kazmir I. V. "Elements of discrimination in school textbooks: an anachronism or a reflection of a sad reality?" In The Publishing Quality of the School Textbook: Problems, which Don’t Lose Their Actuality. Ukrainian Academy of Printing, 2021. http://dx.doi.org/10.32403/978-966-322-522-7-2021-29-40.

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Putra, Panca. "The Antinomy of Value in Determining a Suspect by a Judge: An Anachronism in the History of Human Rights." In Proceedings of the 1st International Conference on Education, Humanities, Health and Agriculture, ICEHHA 2021, 3-4 June 2021, Ruteng, Flores, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.3-6-2021.2310822.

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Giusti, Mariana. "Ciudad muro: urbanizaciones cerradas vs. desarrollo urbano sustentable en el corredor sur de la región metropolitana de Buenos Aires." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Instituto de Arte Americano. Universidad de Buenos Aires, 2013. http://dx.doi.org/10.5821/siiu.5896.

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Existe una profunda contradicción y un preocupante atraso o anacronismo entre la discusión global en “desarrollo y urbanismo sustentable” y los modelos de urbanización promovidos por el sector privado en Argentina. Mientras en el ámbito académico y de la gestión de otros conglomerados urbanos se plantea la necesidad de revertir estos modelos, la creación de urbanizaciones cerradas en el territorio nacional aumenta, no solo en ámbitos metropolitanos sino también en rurales y semi-rurales. En ámbitos metropolitanos, vinculadas por autopistas a grandes centros urbanos, generan importantes problemas de fragmentación espacial y fomentan la segregación social. Involucrando, además, espacios de valor paisajístico y ambiental, comprometiendo las posibilidades de planificación de una estructura territorial racional, sustentable, ecológica, y a largo plazo. Este trabajo describe el desarrollo de estos modelos en el corredor sur del conurbano bonaerense, haciendo hincapié en la relación de estos con áreas de valor paisajístico y ambiental. There is a deep contradiction and a worrying delay or anachronism between global discussion on "sustainable and urban development" and development models promoted by the private sector in Argentina. While in the academic and other cities's urban management areas the need of reversion of these models is discussed, the creation of gated communities in the country increases, not only in metropolitan areas but also in rural and semi-rural areas. In metropolitan areas, its location, asociated by highways to main urban centers, creates significant spatial fragmentation issues and encourages social segregation. Areas with landscape and environmental value are also involved, hindering the chances of planning a long term territorial structure, rational, sustainable and ecological. This article describes the development of these models along the south corridor of Buenos Aires's suburban area, emphasizing the relationship between the development of these models and areas with landscape and environmental value.

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Reports on the topic "Anachronisms"

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McCausland, Jeffrey D. The CFE Treaty: A Cold War Anachronism? Fort Belvoir, VA: Defense Technical Information Center, January 1995. http://dx.doi.org/10.21236/ada358432.

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Lussier, Etienne. Anachronisme, rebuts et survivances dans Les escaliers de Chambord et le Dernier Royaume de Pascal Quignard. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3032.

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BOUCHIAT, Hélène, Etienne GHYS, and Juliette ROCHET. Sciences : où sont les femmes ? Académie des sciences, June 2024. http://dx.doi.org/10.62686/4.

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Le monde de la recherche scientifique souffre de la sous-représentation des femmes, particulièrement forte dans certaines disciplines, qui le prive d’une partie de ses talents à différents niveaux et dans différents corps de métiers de la science et de l’ingénierie. Consciente du rôle qu’elle a à jouer aux côtés des nombreuses institutions, sociétés savantes ou encore associations qui agissent pour corriger ce déséquilibre préjudiciable à toute la société, l’Académie des sciences souhaite ici apporter sa réflexion, ses propositions et recommandations quant à quatre causes bien établies. Sans complaisance ni anachronisme, elle rend également compte de la situation passée et actuelle des femmes parmi ses membres, avant de présenter les actions qu’elle met en place aujourd’hui en son sein pour accompagner la dynamique collective visant la parité du monde scientifique.

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