Journal articles on the topic 'Celebrations of invention'

AbstractOn the night of July 15, 2016, the Republic of Turkey experienced yet another military coup attempt. However, this attempt failed, mainly due to civilian protest and casualties. Their sacrifice, according to the Turkish state, led to the creation of a new national celebration in Turkey, the “Democracy and National Unity Day.” Following the growing interest of historians in the field of national celebrations, this paper examines the creation of this holiday. It argues that the AKP government used this new holiday to shape the Turkish collective national memory and to introduce a national celebration that does not revolve around the founder of the Turkish Republic, Mustafa Kemal Atatürk, who symbolizes the secular camp in Turkey, but rather around the Justice and Development Party government and its more traditional and religious ideology, in the guise of celebrating Turkish democracy.

The article examines the mobilisation of a local community after the creation of a religious attraction and a popular mountain trail in a protected and fragile context. Despite much research on the topic, the boundaries between spiritual or religious tourism and pilgrimage are still quite complicated. The research questions focused on the social reasons behind the growing invention and reinvention of religious places outside of liturgical celebrations and religious practices. Through a case study, the question of whether/how a religious attraction can give new meaning to a mountain tourist spot on the border of a UNESCO World Natural Heritage List Site is addressed, while also raising ecological issues.

“St. Oswald's Day” is celebrated each year in Canberra, Australia, in a day devoted to drug using and excess. “St. Oswald” is an invention of a group of illicit drug users, who parody orthodox religion and satirise straight society in the celebration. The group are drug enthusiasts — that is, while not dependent users of any illicit drug their drug use, in both its variety and intensity, is much more than recreational. Drawing on both interview data with twenty-seven “Oswaldians” and participant observation with the group, the article outlines the nature of St. Oswald's Day, followed by a discussion of the methods used and of the group itself. It is shown that the group, while very unconventional, exhibits social solidarity and organisation, in strong contrast to the images of anomie, disorganisation and pathology emphasised in conventional accounts of drug use. The article closes by discussing how St. Oswald's Day confronts the “sobriety” of modern society (an epitomisation of the Protestant Ethic) with an image of “carnival” (epitomising the Hedonist Ethic) and suggests that much conventional treatment of drug use is blind to questions of historical context and social structure.

Edinburgh introduced Britain to the university centenary, an established form of celebration in continental Europe. The ceremonies in 1884 can be seen in the framework of the late nineteenth-century ‘invention of tradition’. Such events usually asserted the links of the university with national and local communities and with the state. The Edinburgh celebrations marked the opening of a new medical school, after a public appeal which itself strengthened relations with graduates and wealthy donors. The city council, local professional bodies, and the student community all played a prominent part in the events of 1884, which were a significant episode in the development of student representation. Analysis of the speeches given on the occasion suggests that the university sought to promote the image of a great medical and scientific university, with the emphasis on teaching and professional training rather than research, for the ideal of the ‘Humboldtian’ research university was still a novelty in Britain. Tercentenary rhetoric also expressed such themes as international academic cooperation , embodied in the presence of leading scientists and scholars, the harmony of religion and science, and a liberal protestant view of the rise of freedom of thought. The tercentenary coincided with impending legislation on Scottish universities, which encouraged assertions of the public character of these institutions, and of the nation's distinct cultural identity. One striking aspect, however, was the absence of women from the formal proceedings, and failure to acknowledge the then current issue of women's admission to higher education.

The article reflects upon Sam Shepard’s playwrighting in the opening decades of the twenty-first century, paying particular attention to his last play, A Particle of Dread (Oedipus Variations), written specifically for the Derry/Londonderry City of Culture celebrations in 2013, and originally produced by the renowned Field Day Theatre Company. The article seeks to offer an insight into Shepard’s mature multilayered text, which, in many respects, looks back upon almost fifty years of his artistic creativity and, at the same time, expands his vision. It also addresses the realisation of Shepard’s play in performance and the significance of his text in an interplay of multiple creative inputs involved in the production process. While revisiting the familiar landscapes and themes, Shepard’s most recent work negotiates the boundaries between the actual and the fictitious, raising debates about the persistence of myths, mortality and the haunting legacies of the past. Richly intertextual and conspicuously metatheatrical, it grapples with questions of authenticity, performativity and storytelling – the narratives that are passed down, and how they form and inform our lives. It also engages with, and further problematises, issues of personal and cultural identity, which constitute Shepard’s most durable thematic threads, revealing both the dramatist’s acute concern with fateful determinism and commitment to self-invention. Significantly, while Shepard’s postmillennial output highlights the author’s ongoing preoccupation with instability and frontiers of various sorts (from those topographic, temporal and sociopolitical to those of language and art), it equally intimates his attentiveness to correspondences between times, lands and cultures.

Este artigo tem como objetivo pensar algumas das possibilidades que a biografia ou os estudos de trajetória podem oferecer para a compreensão dos meios de comunicação de massa, particularmente, a radiodifusão, no seu processo de constituição e representação social. Para tal, a memória torna-se um elemento importante de evocação e mobilização para a feitura de uma narrativa identitária desse meio sonoro de comunicação na sociedade. As comemorações relacionadas a essa radiodifusão oportunizaram perceber a necessidade de recuperar e narrar determinado passado para torná-lo inteligá­vel e útil para o presente. A pesquisa direcionou-se para o conjunto das comemorações de cinquenta anos da primeira emissora de rádio da Amazônia brasileira, a Rádio Clube do Pará, em 1978, e como se produziu um duplo biográfico, ou seja, tanto a emissora quanto alguns dos personagens envolvidos nela tornaram-se objetos de uma narrativa biográfica e parte de uma invenção de um passado. Palavras-chave: Rádio na Amazônia. Comemorações. Biografia.MEDIA AND SOUND COMMUNICATION AND BIOGRAPHY: the construction of narrative and the invention of a pastAbstract: This article intends to think of some of the possibilities that the biography or the studies of trajectory can offer for the understanding of the means of mass communication, particularly, the broadcasting, in its process of constitution and social representation. For this, memory becomes an important element of evocation and mobilization for the making of an identity narrative of this sound medium of communication in society. The celebrations related to this broadcasting made it possible to perceive the need to recover and narrate a past to make it intelligible and useful for the present. The research focused on the fifty-year celebrations of the first Brazilian radio station, Rádio Clube do Pará, in 1978, and how a biographical double was produced, that is, both the broadcaster and some of the characters involved in it have become objects of a biographical narrative and part of an invention of a past..Keywords: Radio in the Amazon. Celebrations. Biography. MEDIO DE COMUNICACIÓN SONORO Y BIOGRAFáA: la construcción de la narrativa y la invención de un pasado Resumen: Este artá­culo tiene como objetivo pensar algunas de las posibilidades que la biografá­a o los estudios de trayectoria pueden ofrecer para la comprensión de los medios de comunicación de masas, particularmente, la radiodifusión, en su proceso de constitución y representación social. Para ello, la memoria se convierte en un elemento importante de evocación y movilización para la elaboración de una narrativa identitaria de ese medio sonoro de comunicación en la sociedad. Las conmemoraciones relacionadas a esa radiodifusión oportunizaron percibir la necesidad de recuperar y narrar determinado pasado para hacerlo inteligible y útil para el presente. La investigación se dirigió al conjunto de las conmemoraciones de cincuenta años de la primera emisora de radio de la Amazonia brasileña, Radio Club do Pará, en 1978, y cómo se produjo un doble biográfico, o sea, tanto la emisora como algunos de los personajes involucrados en ella se convirtieron en objetos de una narrativa biográfica y parte de una invención de un pasado.Palabras clave: La radio en la Amazoná­a. Celebraciones. Biografá­a.

While a version of Icelandic heritage is exhibited in modern fashion, the imagery is a recent invention without specific historical context. Yet, centuries-old outfits with accompanying components that form the canon of Icelandic women’s national dress are well-established cultural elements. There are three categories of national dress that are instantly recognizable and have well-defined variations of national dress that figure more than ever in formal events and celebrations. However, these do not seem to be referenced in designers’ efforts to create distinctly Icelandic and Arctic imagery through fashionable clothing. Revealing how this appears and why may provide clues to what prompts similar disconnects in other Arctic communities and small-group cultures in which vivid national dress iconography is separated from fashionable apparel. We reveal this separation through fieldwork and interviews conducted in 2021 and 2022 in Reykjavík and online, a look at historical paths of national dress, an examination of cultural underpinnings and attitudes, and references to Jean Baudrillard’s theory on the evolution of symbols in society. We illustrate the gravitational pull of ritualistic contexts that effectively distance national dress from designed fashion. We follow the development of Iceland’s iconic ‘Lady of the Mountain’ and her dress, observing how their emergence and eventual fusing removed them and their symbolic presence from the day-to-day world of fashionable apparel.

As the political situation of the Palestinians has changed, so too have the customs and practices of Palestinians in the Diaspora. Using Eric Hobsbawm's concept of ““invented tradition”” as a point of departure, this article explores the origins, functions, and implications of some of the elements——including dance, song, and costume——of Palestinian-American wedding celebrations in the New York/New Jersey/Pennsylvania area, which since the first intifada have evolved into occasions for celebrating nationalist as well as communal identity.

This paper presents the word-formation of blending in promotional advertisements, specifically for Chinese New Year celebrations in Malaysia. Blending is a process that combines two or three parts of source words (SWs) which either one has shortened infuse and/or where there is a phonological or graphic overlap of source words (e.g., moo-tastic  moo + fantastic, and Ox-picious  Ox + auspicious). These kinds of words describe a new invention or phenomenon that combines the definitions of the attribute of the two existing things. This study, which applied qualitative methods, examines the meaning of blends and the blending creativity in coining new words in promotional advertisements during the 2021 Chinese New Year or Lunar New Year which is also the Year of Golden Ox. In other words, the Lunar New Year which falls on February 12 in 2021 says hello to the Year of the Golden Ox and bids farewell to the Year of the Golden Rat in the previous year. Hence, this paper analyses 70 blends from promotional ads to measure the semantic, phonological, graphemic, and/or formal motivation of blending and investigate the meaning of blends. Researchers conclude the distinguishing features of blends in promotional ads overlap full words and wordplay, examining the graphological, phonological, stylistic, and semantic motivations. This study highlights that a set of words are chosen as the theme to coin new words each year, especially during the festival season (e.g., ox, moo). Blends are believed to effectively spread a message and attract attention to an idea or a product.

The article deals with the history of celebrating the Liberation Day in Czechoslovakia organised by the state. Various aspects of the history of the holiday have been considered with the extensive use of audiovisual documents (materials from Czechoslovak newsreels and TV archives), which allowed for a detailed analysis of the propaganda representation of the holiday. As a result, it has been possible to identify the main stages of the historical evolution of the celebrations of Liberation Day, to discover the close interdependence between these stages and the country’s political development. The establishment of the holiday itself — its concept and the military parade as the main ritual — took place in the first post-war years, simultaneously with the consolidation of the Communist regime in Czechoslovakia. Later, until the end of the 1960s, the celebrations gradually evolved along the political regime, acquiring new ritual forms (ceremonial meetings, and “guards of memory”). In 1968, at the same time as there was an attempt to rethink the entire socialist regime and the historical experience connected with it, an attempt was made to reconstruct Liberation Day. However, political “normalisation” led to the normalisation of the celebration itself, which played an important role in legitimising the Soviet presence in the country. At this stage, the role of ceremonial meetings and “guards of memory” increased, while inventions released in time for 9 May appeared and “May TV” was specially produced. The fall of the Communist regime in 1989 led to the fall of the concept of Liberation Day on 9 May, resulting in changes of the title, date and paradigm of the holiday, which became Victory Day and has been since celebrated on 8 May.

The Mapuche people is the largest indigenous group in Chile and also has a significant presence in some provinces in Argentina. This article primarily addresses the Chilean Mapuche. The we tripantü celebration is a festival held around the second half of June that commemorates the beginning of the Mapuche year. In comparison with other collective Mapuche cultural practices, the we tripantü celebration usually brings together a larger number of people, systematically incorporates non-Mapuche participants, and receives significantly more attention in the media. This article addresses features of this festival, the role played by its musical practices, and how some aspects of identity have been articulated in the development of the festival’s activities. Furthermore, the article reviews how the we tripantü celebration was created in the 1980s by the ethnicization of the Christian celebration of St. John the Baptist despite the wide-spread belief that it corresponds to an ancestral indigenous gathering.

AbstractThis essay focuses on the political dimensions of the Festival Huế, which is claimed to be significant as a celebration of the nation. Although socialist state rituals have lost their relevance in the Đổi Mới era, the revival and re-invention of ritualised tradition create fertile ground for new ritualised events that legitimate and lend significance to the current regime. I argue that despite the unfamiliarity of many spectators with the symbolic contents of these new forms, they are effective because of their aesthetic resemblance to, and association with, familiar rituals.

This article investigates the contradictions that characterize Mobile, Alabama’s Joe Cain Day celebration. We look at the official narratives that established Mobile’s Mardi Gras origin myths and the event’s tradition invention in 1967 with a People’s Parade centered around Cain’s redface character, Chief Slacabamorinico. Then we discuss the complicated and ever-evolving symbolism surrounding the character by discussing more recent iterations of this public performance. In its inception, the Joe Cain celebration was a clear example of Lost Cause nostalgia, yet it has been adopted, adapted, and embraced by historically marginalized people who use it as a way to claim their space in the festivities. Employing both historical and ethnographic research, we show that carnival can simultaneously be a space for defiance and reaffirmation of social hierarchies and exclusionary discourses. We discuss here some of the concrete material elements that lend this public performance its white supremacist subtext, but we also want to complicate the definition of “materiality” by claiming a procession as a Confederate monument/memorial.

ABSTRACT In this essay, we provide a materialist analysis of Adam McKay’s 2015 film The Big Short. We contend that while, on one level, the film appears to be a celebration of several idiosyncratic traders on Wall Street who use rhetorical invention to outwit the industry, on another level, the film can be read as a genealogically informed account of the biopolitical relationship between the oikos and the polis and Main Street and Wall Street. We conclude by advocating for an account of the 2008 financial crisis that is sensitive to the historically overdetermined relationship among rhetoric, politics, and economic power.

Not wholly unlike previous anniversaries of the European discovery of the Americas, the Columbian Quincentenary, now thankfully behind us, brought with it a cacophony of scholarly reinterpretations, intellectual, cultural, and social controversies, and myriad varieties of kitsch on both sides of the Atlantic Ocean and beyond. Once the flotsam and jetsam generated by this celebration is brushed aside, what remains is a serious body of largely historical writing and therewith a restimulated popular interest in world history.

A favorite project of scholars in late-nineteenth- and early-twentieth-century France was to collect folk songs from various French provinces and to add new harmonic accompaniments before publishing them. This folk-song project, like so many others, has obvious nationalist undertones: gathering songs from every French province and celebrating an essential and enduring French spirit. Yet the nuances of this project and its broader context suggest a diverse set of concerns. An examination of the rhetoric around folk-song collection shows how French scholars of the period conflated history and geography: they made the provinces the place of history. Collecting songs from the provinces thus became a way of recovering France's past. Paired with contemporary discussions of musical progress and especially those related to harmony, the addition of piano accompaniments to monophonic songs now reads as a form of history writing. In this article, I argue that French music scholars of the fin de siècle acted out their preferred narratives of music history through folk-song harmonizations. What seemed like a unanimously motivated nationalist project actually reveals the development and contestation of the discipline of music history.

Автор анализирует формы политически мотивированных манипуляций историей как часть национализма и политики памяти в Иране периода Пехлеви. Предполагается, что политика памяти зависела от динамики модернизации. Элиты использовали историю и прошлое как символические ресурсы для легитимации режима, а политика памяти стала формой иранского националистического воображения. Элиты были также активны в попытках актуализировать и визуализировать зороастрийское и доисламское наследие, интегрируя его в культурные пространства и контексты Ирана. Автор анализирует коммеморативные мероприятия, включая празднование 2500-летия персидской монархии. Предполагается, что политика памяти в Иране имитировала культурные практики западного национализма. The author analyzes the forms of politically motivated historical manipulations as part of nationalism and memory politics in Iran during the Pahlavi period. It is assumed that the politics of memory depended on the dynamics of modernization. The author believes that the elites used history and the past as symbolic resources in their attempts to legitimize the regime, and the politics of memory became a form of Iranian nationalist imagination. The author believes that the elites actualized and visualized the Zoroastrian and pre-Islamic heritage, integrating it into the cultural spaces and contexts of Iran. The author analyzes the commemorative events, including the celebration of the 2500th anniversary of the Persian monarchy. It is assumed that the politics of memory in Iran imitated the cultural practices of Western nationalism.

The invention of the commercial sports bra in 1977 was a significant advancement for physically active women. Despite its humble origins as an enabling technology, the sports bra has since been invested with new and varied cultural meanings and currencies. In this article I critically read popular representations of sports bras, specifically advertisements and “iconic sports-bra moments” that circulate around Brandi Chastain’s celebration of the U.S. women’s soccer team’s victory in the 1999 World Cup. I argue that such representations sexualize sports bras and the women who wear them. In addition, these representations homogenize and normalize ideals of femininity, which are considered achievable through technologies of disciplined body management, and reproduce the traditional gender order.

AbstractTwo things long stood in the way of the erection of statues in public in the Northern Netherlands, on the one hand the lack of a strong central government and on the other the wrongly interpreted - Calvinist interdict on them (Note 1). The first statue of this kind, that of Erasmus in Rotterdam by De Keyser (1622), was attacked by strict Calvinists, but noted throughout Europe as an early paradigm (Note 3). Not until the 19th century did the Netherlands join in the nationalistic 'statue craze', which was just breaking out then, with two monuments to the supposed Dutch inventor of printing, Laurens Janszoon Coster. These statues of a private citizen had a predecessor in the 18th century, while a statue had already been demanded in the 17th-century eulogies of Coster. Cities had long honoured their famous inventors as important contributors to civilization and praise of the inventor was also a fundampental ingredient of the history of learning (e.g. in Pliny). In the Renaissance scientific inventions acquired a special emphasis, modern inventors being held up as evidence that the model of Antiquity could be not only equalled, but also surpassed, while both Christian civilization and the northern countries could also gain credit here (cf. Johannes Stradanus, Figs. 2, 3, Note 9, and Francis Bacon, Note 10). The significance of the invention of printing for Christianity was soon recognized, so that it was lauded above other inventions as 'divine', an attitude that was certainly also strengthened by its decisive role in the Reformation. In the Netherlands in particular, where religious and political developments were so closely interwoven, printing was regarded as an important aid to both (Notes 14, 15), while the young Dutch Republic, in which printing played such an important part, could claim the honour of counting the inventor of this important art among its citizens. This 'pious fraud' (Hellinga) is fundamental to the discussion of the history of the statues. The Coster tradition can only be traced back to about a century after the supposed invention, acquiring its definitive form at the end of the 16th century in Hadrianus Junius' Batavia Illustrata of 1598. The further enlargement on the merits of Coster also necessitated a portrait of him which, in de fault of an authentic one, had to be fabricated for the purpose, the features of the statue of Erasmus being taken over for a full-length portrait (Fig. 5), which served as a 'graphic monument'. A fictitious bust of Coster was also cited in the 17th century (Fig. 7) and this, like the early sculptural marks of honour to him (Fig. 16), belongs to the iconography of printing, the practitioners of the craft evoking their inventor. Such representations - a more or less life-size statue of Coster is still to be seen on the house of the Haarlem printer Enschedé - were not yet very public in character. The statue of Coster projected from the end of the 17th century for the garden of the Hortus Medicus in Haarlem did acquire greater publicity, however. This humanist garden of a bourgeois learned society (Note 28), reflected not only nature, but also the world of learning, as a microcosm of the arts, with sixteen busts of connoisseurs and scholars under the leadership of a full-length statue of Coster, since it was he who by his art had made the dissemination of learning possible, although he owed his place here largely to his Haarlem origins, of course. The designs made by Romeyn de Hooghe for this statue (Note 29) were only realized in 1722 in a statue by Gerrit van Heerstal, which tried to unite historical and classical features (Figs. 8-13). In the years thereafter, up to the tercentenary of the invention, the poems, medals and a weighty commemorative publication (Fig. 14, Note 35) celebrating the Haarlem inventor of printing all referred to this statue in his birthplace. Meanwhile Germany too had honoured her inventors of printing - Fust in addition to Gutenberg, initially - in 1640 and 1710 by centenary festivities often of a Protestant cast. Privileges relating to public statues may have been one of the reasons why no monuments were erected on these occasions. These privileges were, however, annulled by the French Revolution, just as the Enlightenment and political renewal furthered the cult of honouring leading civic 'geniuses'. Two Gutenberg cities under French rule took pride of pace here, but only in 1840 did Strasbourg acquire a statue of Gutenberg by David d'Angers, which illustrated his role as the enlightener of all mankind (Figs. 15-18, Note 39). In Mainz a private initiative of 1794 came to nothing (Note 40), as did a Napoleonic rebuilding plan centred on a Gutenberg Square with a statue. Not until 1829 was a semi-public statue by Joseph Stok set up there (Note 41), while in 1837 the Gutenberg monument designed by Bartel Thorwaldsen was unveiled with great ceremony (Fig. 19). The two last-mentioned statues in Mainz, like the many others erected after 1814, were the products of the nationalistic pride in the country's past history that flared up after the defeat of Napoleon. This pride in the past generally took on a nostalgic cast and served to compensate for the failure of current political ambitions: The unity of Germany long a dream, while the hoped-for great changes in the Kingdom of the Netherlands were dealt a bitter blow by the breakaway of the 'southern provinces' in 1831 (Note 44). This last event marked the start for the Northern Netherlands of a long-lasting rivalry with their Belgian neighbours, which was pursued by means of monumental art, from the statue of Rembrandt (1852) as an answer to that of Rubens (1840) to the Rijksmuseum (1885). The great importance attached to Coster in the 19th century was already manifested in 1801 by the removal of the statue in Haarlem from the Hortus Medicus to the marketplace (Note 45). National pride is abundantly evident in the prizewinning treatise published in 1816 by Jacobus Koning, who is a weighty investigation confirmed Coster's right to the invention and with it that of the Netherlands to a leading place among the civilized nations. The quatercentenary, fixed surprisingly early, in 1823, comprised every imaginable type of public entertainment and demonstration of scholarship. It is, however, striking that these expressions of national pride were still balanced by references to the elevating effect of the invention (Note 56). The most lasting mark of honour of the celebration of 1823, the abstract monument by the Haarlem sculptor D. Douglas, also looked back to the sensibilities of the 18th century in its placing on the spot where the invention had come into being in the Haarlem Wood (Fig. 23, Note 59). After this Haarlem monument of 1823 had been adduced in the discussions about the statue in Mainz before 1829, Thorwaldsen's statue, which attracted great international attention, became a greater source of annoyance to the Dutch adversaries of Gutenberg after 1829 than the statue to the Belgian inventor Dirck Martens in Aalst (Note 63) or the projected monument to William Caxton in England. Jan Jacob Frederik. Noordziek summed up this dissatisfaction in his call in 1847 to 'uphold the honour of the fatherland', in which he pleaded for a monument that would surpass the Gutenberg statue and thus serve as an argument that would establish the Dutch claim for good (Note 64). The erection of this statue was further expressly intended to be an exclusively national affair: the citizens of the Netherlands must raise the money and only Dutch artists be charged with the execution. The general discussion about the statues appears to have been less virulent than was usually the case in the preliminaries to other monuments (Note 66), Coster's merits evidently being little contested within the country itself. There were two notable critical voices, however (see Appendix). Professor M. Siegenbeek rang the changes on an old Calvinist argument in refusing a seat on the preparatory committee: in addition to the fact that there were certainly more people who deserved statues, he pointed out that the great expense involved merely evinced ostentation and that the money would be better spent on social ends. The Neo-Classicist Humbert de Superville, on the other hand, did express doubts as to Coster's right to the title, repeating aesthetic arguments which had been adduced before: statues ought, in his view, to be made in the form of durable stone herms, but he thought there was as little chance of that in this 'age of modish lay-figures' in the bronze of melted-down coins, as that the statue would be made by a Dutchman (Note 67). A typical Romantic historical controversy threw the organizers into turmoil, namely the authenticity of the representations of Coster. In particular Westreenen van Tielland unmasked the idealizing and forged portraits, arguing against the erection of a historicizing representational statue. But the defenders of Coster's honour opted for the usual historical realism (Note 68). The tenor of these polemics is found again in the conflict over the 'historical or allegorical' nature of the composition, which can be seen in the designs. Louis Royer, to whom the commission was given in 1848, wanted to show Coster walking with a winged letter A in his hand, as if on his way to show people his discovery, which was soon to wing its way round the world (cf. Fig. 22). However, this allegorical element disappeared completely in the final version, in which the choice fell on a realistic portrait, albeit Coster was still shown walking like a classical predecessor, Archimedes, who could not keep his discovery to himself (Fig. 23, Note 69). The architect H. M. Tetar van Elven was commissioned to make a base in the style of 'the last era of the Middle Ages'. The inscriptions also presented problems, but were finally agreed on in September 1855. The ceremonies, which after all manner of altercation between Royer and the main committee (Note 70) and various financial problems, were finally able to be staged from 15 to 17 July) 1856, included, in addition to the actual unveiling of the statue on the marketplace ( Van Heerstal's statue being returned to the garden again) , pageants, meetings, an exhibition and all sorts of popular entertainments. Everything was on a grander and more extensive scale than 33 years before and little remained of the motif of enlightenment through printing which had been so important then. Nalionalistic merry-making now predominated, along with expressions of devotion to the House of Orange. Less emphasis was also given to the 'darkness' of the Middle Ages, which were now beginning to be valued as part of the nation's history. The most monumental homage to this monument was a 360-page account of the events by the indefatigable Noordziek. His dream of the recognition of Coster and the nation as a whole seemed to have become a reality. But it was not to be so for long. Only fifteen years after the unveiling A. van de Linde unmasked the' 'Haarlem Coster legend' and called for the demolition of the statue, again in the interests of the nation (Note 81).

What happens to us when we enter a Teatro de los Sentidos (Theatre of the Senses) experience? Why do we need to play? Where does our need to play come from? Why is sensory theatre relevant today? For what strange reasons do humans like to play getting lost and finding themselves in the dark? I want to share with you the reasons why Teatro de los Sentidos has been significant to me ever since I became aware of inventing myself and inventing it in my childhood games, imagining forbidden labyrinths in Colombian coffee plantations, until today, at my eighty years of age. It is clear that a lot of primal and parallel knowledge has developed over time in all cultures. Myths, celebrations, imagination, poetry, symbolic powers ... resonate differently, each according to historical circumstances. Let us ask ourselves together: what potential does sensorial theatre have today? (Enrique Vargas: Some questions before the symposium.)

The first thing you need to know is that Vancouver’s theatre scene is hot right now. Consensus is we’ve got ourselves a renaissance. There are companies and playwrights coming into their own, and their passion and inventive spirit is infectious. In fact, if you are interested in a discussion about play creation processes, get out here fast. The community as a whole is buzzing with the topic. New work is flourishing here and so is a spirit of collaboration and celebration.

The paper is the first in the planned series of texts on football in films and TV programmes in Yugoslavia (Serbia and Croatia). The film Comrade President – Center-Forward (1960, directed by Žorž Skrigin), labelled as the genre of “film humoresque”, presents a ramifying and intertwined story about a small provincial town. The narrative is structured around a celebration of the agricultural cooperative and an important football match played by the local team. Through these two narrative lines the film speaks about the invention of traditions, modernization and industrialization, clothes, arts, popular music, and the elements of romantic comedy and the events surrounding the football match present the media through which the messages are conveyed about the phenomena in a small Serbian town and wider, in the society of the 1950s.

Abstract As part of the celebration of Thornton Wilder’s one hundred and twenty-fifth birthday, the Alley Theatre mounted a workshop production of Wilder’s unfinished play, The Emporium. Adapted by Kirk Lynn and directed by artistic director Rob Melrose, the script utilized Wilder’s journals and previously published scenes, but the new adaptation also featured inventive and thought-provoking solutions to the problematic puzzle of how to adapt a play which Wilder himself struggled to complete. The resulting workshop served as one attempt to tell the story of The Emporium as Wilder wished.

This article explores the role that heritage might play in the representation of ‘difference’, within the context of neoliberal cities. The case is a large-scale urban change in the former working-class neighborhood of Gamlestaden, Sweden. Interviews and on-site observations revealed how authorized heritage practices can enable the celebration of particular social and cultural values, while naturalizing the erasure of others. People’s cultural diversity, and diverging interpretations of the past, have been guided by the power of heritage into a process of subjectification, according to which only ‘unthreatening’ forms of cultural diversity were celebrated and revealed legitimate. The ‘fetishized’ difference and particular historical records have served to conceal the political interest at stake in its’ production and maintenance, and led to a politicised representation of cultural diversity through what Annie Coombes’ terms ‘scopic feast’. All this was made possible through BID, the first neoliberal business improvement district model in Sweden, and its investment in a deeply rooted process of heritageisation. Uncritical engagement with difference in the context of heritage management and neoliberal urban development, make it appear almost natural to erase the cultural values that fall outside the authorized narrative of value.

With Tippett and Rawsthorne centenaries this year, Mátyás Seiber's (1905–60) might have been overlooked, but Morley College, prompted by the composer's daughter Julia, made sure it was not with a well-devised festival comprising four concerts, two lectures (by Michael Graubart and Hugh Wood – both names familiar to Tempo readers, and the latter currently especially featured) and an exhibition. Seiber was one of a number of continental arrivals, the others including Gerhard and Reizenstein, who remained here to our considerable benefit, in Seiber's case becoming a much sought-after teacher of composition. Morley was a fitting focus for the celebrations, having welcomed him onto the staff in 1942 after more august, and blinkered, institutions had shown no interest. The subtitle of the festival – ‘From blue notes to twelve notes’ – neatly encapsulated his wide ambit. As Robert Hanson pointed out in his notes, ‘his refusal to accept the mutual exclusiveness of different types of musical study and practice, first shown publicly in his jazz course at Frankfurt, came to typify the man’. This is in direct line with the Morley philosophy since the days of Dr Hanson's reforming predecessor Gustav Holst, who is reported in the College's magazine of December 1917 to have insisted that the terms ‘classical’ and ‘popular’ were misleading: there was only ‘good’ and ‘bad’ music. (The danger now, as Wood pertinently observed, is that students reluctant to accept the authority of the teacher prefer to think their own opinions equally valid. Seiber would have had no truck with such self-deception. Ruthlessly honest yet tactful in discussing a student's work, he adopted the Socratic approach by indicating a passage and asking ‘why did you do that?’ After listening patiently to the reply, he would quietly explain the fault and request a revision for the next lesson.) Sadly, older pupils like Fricker, Milner and Banks are not around to discuss how he would see an extended piece through to completion. But more recent ones were present at the festival, including Graubart and Anthony Gilbert (also featured in Tempo recently), who can corroborate Wood's testimony to Seiber's belief that composition should be taught as a discipline grounded in tradition and the classics, backed up by thorough analysis and imitation of Bach inventions and Haydn minuets.

In this article Susan Oommen looks at the plays of the popular Indian dramatist Mahesh Dattani as conversations between the writer and his audience on models of reality, and interprets their performance as moments in subjectivization. In initiating an audience into redefining identity, she argues that Dattani provides the parameters within which problematizations may be reviewed and better understood. He also seeks to queer the debate on Indian middle-class morality, thereby challenging its privileged status and underscoring the interconnection between repression and invisibility. The question for the audience is whether Dattani's plays can cue them into experiences of resistance and encourage them to reinvent narratives that may then function as personal histories. One of the plays on which this article focuses, Dance Like a Man, was seen during this year's Edinburgh Festival as part of the Celebration of Indian Contemporary Performing Arts. Susan Oommen works in the English Department in Stella Maris College, India, where she has been on the faculty since 1975. She spent the past academic year at the Institute for Research on Women at Rutgers University.

In 1930, Frits Zernike developed a way of making the invisible visible: he had perfected a method for the examination of living, unstained cells. The human eye and brain are good at distinguishing the amount of light (contrast) or its wavelength (colour), but are unable to distinguish differences in phase (there is no common name for it). Zernike had invented a technique that would make the invisible phase difference of a living cell a visible difference in light and shade. He took his invention, which he called phase contrast, to the greatest microscope manufacturer, Carl Zeiss, in 1932. Zeiss told him to get lost.

Abstract Cognitive rhetoric of effect deals with creating a referent’s favourable image throughout four text-forming stages: invention (looking for arguments); disposition (argument arrangement); elocution (verbal ornamentation); and performance, combining the ancient canons of memory and delivery. The cognitive procedures of rhetoric of effect rest on conceptual structures of sensory-motor origin: image schemas, i.e. recurring dynamic patterns of our perceptual interactions and motor programmes (Johnson, 1987, p.xiv), and force dynamics, i.e. a semantic category in the realm of physical force generalized into domains of internal psychological relationships and social interactions (Talmy, 2000, p.409). The embedding of sensory-motor structures into the text-forming stages reveals that cognitive rhetorical effects are created by managing the energy flow, which consists of force and motion transformations denoted by particular linguistic units. The phenomenon is exemplified by the analysis of the way impressions of freedom celebration and freedom defence are formed in the inaugurals of J.F. Kennedy (1961) and G.W. Bush (2005) respectively.

In the midst of an influential career writing on Brazilian cultural production, the sociologist-turned-political marketer Antonio Risério publishes Oriki Orixá, a book of Portuguese re-translations of Yoruba oriki poetry (1996, reprinted 2013). Understanding translation as a partial and ideologically-motivated act of representation, the current article situates Oriki Orixá within an ideology of race in Brazil. I take into account textual and paratextual materials including the book’s introduction by Augusto de Campos; the editorial promotion of the work; its circulation within a literary network; and the highly mediated histories of the source poems. Oriki Orixá simultaneously promises a universal poetic “invention” and an ethnographic “recuperation” of a foreign text. Ultimately, the white author frames his translation as an affective encounter with an African literary tradition. This encounter participates in—and reinforces—a discourse of racial exceptionalism in which an abstract celebration of African-European contact occludes continuing histories of domination and inequality.

This essay is both celebration and portrait of the late Barton Rouse and his influential career as chef at the Terrace Club of Princeton University during the writer's undergraduate career. In the late 1980s and early 1990's Barton Rouse transformed a dilapidated building into a culinary mecca. He planned inventive daily menus (chrysanthemum soup; broiled tuna with morel sauce; White Trash Night) and hosted extravagant special events: an anti-Valentine's day dinner, for instance, which featured Blackened Rib Steaks and Catfish Fillets, Black fettuccine with sour cream and lox sauce and red and black caviar, bleeding hearts of beet salad, brandied cherry ambrosia, and mocha espresso cheesecake. The man and his food broke boundaries between high culture and low, good taste and bad, east and west, rural and urban, adult and child. In the process of cooking for his members, Rouse taught hundreds of young people how to eat, but also that cooking was a labor of love and a genuine aesthetic pursuit. His humor, whimsy, and inventive extravagance left a legacy which links inextricably food and politics to our fundamental way of being in the world.

ABSTRACTThree new cities were created in conjunction with Her Majesty the queen's Diamond Jubilee celebrations in 2012: Chelmsford, Perth and St Asaph. They were the winners of a competition which had no clear rules, no transparency and no proper feedback. The modern style is to create new cities in conjunction with a royal event, the winners to be decided by competition. How has this come to be the case? This article looks at the 2012 competition in the light of the ways in which cities have been created in the United Kingdom since the explicit link with Anglican cathedrals was dropped in 1888, and it asks whether it is worth the effort? The author concludes that what was initially conceived as a means of distinguishing between rivals for the status of city has become a competition driven by modern forms of civic boosterism, and a blatant opportunity for political patronage by governments who hide behind royal ‘privilege’. For all the effort expended, the distinction is hardly recognized outside of the town hall.

The pursuit of happiness represents one of the major paradoxes of Erasmus' best-known work, Encomium Moriae (The Praise of Folly) (1511). While spiritual bliss is upheld as the ultimate form of happiness, the speaking subject celebrating it, who is no other than Folly herself, also argues for the superiority of the pleasures derived from the five senses. The narrative strategy which helps to maintain such an ambiguous position with regards to the ideal form of happiness, however, was scarcely Erasmus' invention, although he has been traditionally credited for it. As shown by the present comparative analysis, the praise of sensory pleasure through the mouth of Folly can be found in a nearly contemporary source, the Stultiferae naves (The Ship of Foolish Maidens) (1501). This work was probably well-known to Erasmus, since it belonged to the famous early-humanist printer, editor, commentator, and author Jodocus Badius Ascensius, who was also his principal Parisian editor until a regrettable event put an end to their relationship.

Abstract The Górale of the Polish highlands are seen as a people apart from the rest of Poles. They are afforded this special status through the romanticisation as Poland’s very own “noble savages” by the writers and travellers of the 19th century. This was the time of Poland’s search for nationhood (when its territory was occupied by Russia, Prussia and Austria). The Górale have always been described, even in those early accounts, as pastoralists. During the season, when the sheep went up to the alpine pastures, the villages were almost deserted. In the 20th century the pastoral system dissolution took place starting with the establishment of national parks after the Second World War. Further unfavourable developments decimated what was left of it since the late 1980s. As a result of the dissolution of the pastoral system the Górale chose to amplify their internal unity by strengthening the ethnic identity. The revival of pastoralism as it currently presents itself today, may be seen as yet another rallying call around Górale identity. It is a come back to the pastoralist “core” of the highland culture, while changing and re-inventing the tradition to suit new economic, social and political circumstances. In the Polish pastoralist tradition there have always been two seminal community events which bracketed the winter season. There was the autumn event of “Redyk Jesienny” when the sheep brought back from the summer alpine pastures were given back to their owners and there was also a spring event of “Mieszanie Owiec” which literally means the Mixing of Sheep. Historically, they were very important events of the pastoral calendar, while the pastoral system itself has been crucial fixture and backbone of the social system of the Górale people. The paper examines how these traditions changed from old ethnographic descriptions and how they are being re-invented in the context of reaffirming the Górale identity today.

: The development of programs of study, learning and teaching resources, lesson plans and assessment of students, and even teacher education are all based on curriculum. It is also related to the integration of character education in the learning process carried out from the planning, implementation, and evaluation of learning in all subjects and it can be adopted in making lesson planning (syllabus, lesson plans and teaching materials). Since character education has recently become an important issue in the Indonesian education system, this research examines the potential incorporation of the character education in Listening 1 course syllabus and materials by doing content analysis. The findings reveal that there are 18 characters of education that can be applied in the syllabus, they are Caring and Compassionate, Creative, Curious, Democratic, Discipline, Empathy, Honest, Inclusion/Communicative, Independent, Love Peace, Love Reading, Love the Nation, Nationalistic, Religious, Responsible, Sportive and Respectful, Tolerant, and Work hard. Those characters are incorporated to the 10 topics (Meeting people for the first time, Families, Numbers, Let’s eat, Free time, Gifts, Part time jobs, Celebration, Invention, and Folktales) and also include in Introduction, Self Study, Expansion, Middle test and Final Test of Listening 1 course materials.

AbstractThis article analyses how the circulation of ideas and hybrid rituals between Shia Muslims and Christians reveals a much more intentional political process whereby minority religious groups consciously create shared experiences and a sense of commonality in the face of political marginalization in northern Nigeria. One example is the Shia invention of Jesus’s Mawlid (Jesus’s birthday), which they perform in a different way from the conventional Christmas but that is attended by some Christians. Also, some Christians participate in the annual celebration of Mawlid al-Nabiy (the Prophet Muhammad’s birthday), organized by Shias. Despite the adherents of the two religions participating in mixed religious practices, they continue to see themselves separately as Muslims and Christians. Reactions to these hybrid rituals impact relationships among the mainline Sunni groups. Sufis (Tijanis and Qadiris), who were previously united in the face of the anti-Sufi reform movement (Izala), now diverge over how to respond to Shia Islam. While they disagree with Shias intellectually, not everyone supports the attacks against Shias by Salafi activists. These dynamics add to the understanding that the concept of ‘tolerance’ is not sophisticated enough to capture all forms of religious coexistence in Nigeria.

In May of 2021, the Department “Mechanical equipment of steel-works” after professor V.Ya. Sedush of the Donetsk National Technical University is celebrating its 90th anniversary. Information on the department formation stages presented, including its collective input into development of the metallurgical industry, preparation for it high qualified specialists, elaboration of technical solutions on perfection of existing and creation of new technological equipment. Advanced methods of students training by bachelor’s and master’s programs of “Technological machines and equipment” direction highlighted. Scientific and technical achievements shown in such arears as calculation and designing of new samples of metallurgical machines and aggregators; assembling, repair, technical maintenance and diagnostics of equipment of blast furnace, steelmaking and rolling shops; management of repair work of plants. The successes of the lecturers and assistances of the department during the last 50 years were reflected in the 7 monographies, 3 textbooks, 10 school books, in 1550 scientific articles published by them and 180 inventions.

Abstract Current adaptations of Shakespeare’s Tempest invariably tend to focus on the postcolonial. Despite the indubitable contemporary political relevance of the postcolonial in Shakespeare’s play, this article argues that a much larger receptional impact of it lies in its aesthetic structure. Drawing on the Tempest’s comedic nature, it contends that the play’s ‘romantic’ content (or syntagmatic romance plot) is secondary only in relation to its primary point of enabling, and staging, funny and/or metafictional inventions and ideas (i. e. paradigms), thus displaying and corroborating the play’s elaborate polyperspectivity. This ‘open perspective structure’ (M. Pfister) finds itself in particular taken up in the cinematographic Tempest adaptations by Derek Jarman and Peter Greenaway, who use the well-known plot to foreground, and celebrate, the possibilities and options of the multimedium ‘film’. But where Greenaway tends to re-harmonise this unleashed plurality again by synchronising all the different paradigms back into a unified (and at times rather lengthy and monotonous) celebration of art as art, Jarman takes the play’s enabling structure much more seriously in opening up his movie to a well-nigh endless inclusion of ever more unexpected, and new, paradigms of pleasure.

The present paper studies an event of annual pilgrimage and congregation of the Santal at Luguburu hill in Jharkhand along with associated performative practices of dance, song, speech events and rituals. Lakhs of Santals, the largest tribal community in eastern India, assemble at this place to offer worship to Lugubaba during the full moon day in the Santal month of Sohrae corresponding to October-November in English calendar. Pilgrimage is a new phenomenon in Santal culture. The earlier monographs on the Santal did not give any reference to this phenomenon. Martin Orans’ celebrated study on the Santals in search of a great tradition of their own has no mention of this event. The present study has discussed and analyzed the emergence of the phenomenon of pilgrimage. The study has argued that the search for tradition is actually linked to new cultural inventions in changed contexts as well as socio-political milieu. The new ‘cultural enactments’ draw elements from own as well as neighbouring cultures as the present case has exhibited. The rituals and associated activities built upon a ‘prior discourse’ leads to performative practice that is directed towards a celebration of identity of a community.

Abstract Although a relatively recent invention (c. 1500), many legends have accumulated around the origins of lace, more than have been recorded for other crafts. Almost every region involved in pillow or needle lace had its own origin story: I will concentrate on those circulating in Italy, Catalonia, France, Belgium, and England. Lacemaking was a poorly paid, dispersed and overwhelmingly female occupation, but none the less it had a strong craft tradition, including the celebration of particular saints’ feastdays. The legends drew on elements of this work culture, and especially the strong connections to royal courts and the Catholic Church, but they did not originate among lacemakers themselves. Rather they were authored by persons – lace merchants and other patrons – who in the nineteenth century took on the task of defending homemade lace in its drawn-out conflict with machine-made alternatives. Legends first circulated in print, in lace histories, newspapers and magazines, before transferring to other media such as the stage, historical pageants, even the visual arts. More recently they have continued to propagate on the web. While not originally oral narratives, they behave much like legends in oral storytelling environments: they are usually unsourced; they accumulate and shed motifs; they adapt to new circumstances and audiences. They were told with the intention of creating a special status for handmade lace, and to mobilize protectors and consumers.

This article traces the process through which Alisher Navoi, a fifteenth-century Chagatai-Turkic poet from Herat, Afghanistan, became uzbekified and sovietized by Uzbek writers and scholars from the 1920s to the 1940s. It focuses on how shifting visions of nation-building affected Navoi's representation in Uzbek national historiography during the early Soviet period. The 1948 Soviet celebration of the 500th anniversary of Alisher Navoi's birth established the poet as a symbol of Uzbek “national-exceptionalism” that distinguished the Uzbek nation from other Central Asian nations. As a consequence Alisher Navoi's legacies that had regional significance were reduced to national heritage and the region's history was revised accordingly. The article, however, argues that the Soviet canonization of Alisher Navoi was not a rootless imposition of cultural history unfamiliar to the Uzbek people. Rather it was a realization of a nation-building project initiated by native Central Asian intellectuals called Jadids before the very creation of the Uzbek nation-state. Even though these intellectuals were persecuted during the 1930s Stalinist Terror, their ideas survived and were picked up by a new generation of Uzbek writers. This article also discusses how World War II provided an opportunity and justification for the Uzbek writers to rediscover their nation's pre-Revolutionary history and strengthened the Uzbek national ownership of Navoi legacies.