Academic literature on the topic 'Circulation and display of material culture'
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Journal articles on the topic "Circulation and display of material culture"
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Hall, Mark. "Whithorn's Medieval Material Culture on Display." Scottish Archaeological Journal 27, no. 1 (2005): 89–93. http://dx.doi.org/10.3366/saj.2005.27.1.89.
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Petrov, Julia. "Cross-Purposes: Museum Display and Material Culture." CrossCurrents 62, no. 2 (2012): 219–34. http://dx.doi.org/10.1111/j.1939-3881.2012.00231.x.
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Crooke, Elizabeth. "Memory politics and material culture: Display in the memorial museum." Memory Studies 12, no. 6 (2017): 617–29. http://dx.doi.org/10.1177/1750698017727805.
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When private grief is brought into the memorial museum, this transfer is a deliberate act that is seeking public acknowledgement and action. By considering the life history of a collection of objects now in the Museum of Free Derry (Northern Ireland), the use of objects in private mourning and as agents in the collective processes of public remembering is demonstrated. The story is one of loss and mourning that is intensified by the political context of the deaths. As cherished possessions, these objects are active in the private processes of grieving and recovery. In the memorial museum, they are agents in an evolving justice campaign, embedded in the political negotiations of the region.
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Lehrer, Erica. "The Matter of Jewishness: Rules for the Collection and Display of Material Culture." International Journal of the Inclusive Museum 1, no. 4 (2009): 45–56. http://dx.doi.org/10.18848/1835-2014/cgp/v01i04/44533.
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Gemmill, Elizabeth. "Debt, distraint, display and dead men’s treasure: material culture in late medieval Aberdeen." Journal of Medieval History 46, no. 3 (2020): 350–72. http://dx.doi.org/10.1080/03044181.2020.1746924.
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설배환. "A New Challenge to Understand Production and Circulation of East Asian Material Culture." Korean Cultural Studies 32, no. ll (2017): 219–31. http://dx.doi.org/10.17792/kcs.2017.32..219.
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EVANGELISTI, SILVIA. "MONASTIC POVERTY AND MATERIAL CULTURE IN EARLY MODERN ITALIAN CONVENTS." Historical Journal 47, no. 1 (2004): 1–20. http://dx.doi.org/10.1017/s0018246x03003480.
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This article discusses the meaning of material culture in early modern Italian convents. Although nuns were required to give up private property rights and embrace religious poverty, many of them brought into the convent a vast range of material objects and goods for their personal use. These goods could also be given away, exchanged, or lent to others within the monastic community and even outside it. By exploring the circulation of objects, money, and goods, we get an interesting picture of how female monastic institutions worked internally and interacted with the city. We also gain a better understanding of the role of objects in articulating religious discipline and regulating the networks of interpersonal relations within cloistered communities.
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Stefano, Michelle L. "Colonial collecting and display: Encounters with material culture from the Andaman and Nicobar Islands." Asian Anthropology 13, no. 2 (2014): 163–65. http://dx.doi.org/10.1080/1683478x.2014.974135.
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Vilkner, Nicole. "The Opera and the Omnibus: Material Culture, Urbanism and Boieldieu's La dame blanche." Cambridge Opera Journal 32, no. 1 (2020): 90–114. http://dx.doi.org/10.1017/s0954586720000130.
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AbstractIn the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of circulation, the omnibuses also had a profound effect on the reception history of Boieldieu's opera. When the omnibuses improved the quality of working- and middle-class life, bourgeois Parisians applauded the vehicles’ egalitarian business model, and Boieldieu's opera became unexpectedly entwined in the populist rhetoric surrounding the omnibus. Viewing opera through the lens of the Dames Blanches, Parisians conflated the sounds of opera and street, as demonstrated by Charles Valentin Alkan's piano piece Les omnibus, Op. 2 (1829), which combines operatic idioms and horn calls. Through these examples and others, this study examines the complex ways that material culture affects the dissemination and reception of a musical work.
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Santesmases, María Jesús. "Circulating biomedical images: Bodies and chromosomes in the post-eugenic era." History of Science 55, no. 4 (2017): 395–430. http://dx.doi.org/10.1177/0073275317701145.
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This essay presents the early days of human cytogenetics, from the late 1950s until the mid 1970s, as a historical series of images. I propose a chronology moving from photographs of bodies to chromosome sets, to be joined by ultrasound images, which provided a return to bodies, by then focused on the unborn. Images carried ontological significance and, as I will argue, are principal characters in the history of human cytogenetics. Inspired by the historiography of heredity and genetics, studies on visual cultures, the conceptualization of circulation, and the sociology of pregnancy, I suggest that cytogenetics, through its focus on pregnancy, pregnant women, and their offspring, found strategic living materials that stabilized human chromosome studies as a biomedical, post-eugenics practice. The historicity of each path displays a wide circulation of objects, tools, and methods that condensed on images that shared in the centuries-old visual expertise that medicine and botany had manufactured.
Dissertations / Theses on the topic "Circulation and display of material culture"
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Moore, Gillian Lizbeth. "From head to tale : the circulation, display and representation of big-game material culture, c. 1870-1920." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32476.
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Artefacts created from big game material proliferated during the period between 1870 and 1920 and, through their physical and metaphorical circulation as trophies, mementos, furnishings, garments, and personal accoutrements, became increasingly visible as they percolated from their predominantly elite genesis, into a multiplicity of public, domestic and civic spaces. This study seeks to discern the effect of their dissemination, showing how it impacted on the museum displays, domestic decor, fashionable dress and commodity culture of the era. It reflects the extensive representation of big game hunting, and its material effusions, in the text and images of the expanding periodical press, recognising the contribution of published sources to public reception of these artefacts and their developing role as commodities. My thesis aims to demonstrate that detailed examination of the varied and abundant artefacts which stemmed from big game hunting can offer valuable insights into the social and cultural history of the era and argues that this material's entanglement in Britain's imperial project is too significant to overlook. It contends that the transitions from nature to culture, which these objects illustrate, map the reach of the burgeoning Empire, and plot the dichotomies of late Victorian, and Edwardian, engagements with the natural world and subaltern nations. Scholarly work by John M. Mackenzie and Harriet Ritvo, in the mid 1980's, firmly established the relevance of the examination of material culture, within the contexts of animal studies and imperial history, as a fruitful field for academic research, arguing convincingly for further examination of its varied manifestations. However, a generation later, no comprehensive exploration of those elements appertaining to big game hunting has been attempted. Encouraged by the post-millennial 'material turn' in social history, identified by scholars including Bill Brown (2001), Erica Rappaport (2006) and Frank Trentmann (2009), my work draws on a wealth of contemporaneous factual sources including museum, exhibition and trade catalogues, fashion plates, unpublished correspondence, biographical material, museum records, archival sources and popular fiction, to explore the circulation and representation of big game material culture, during a long fin de siècle, and reveal its extensive influence. As a whole, this thesis seeks to offer a nuanced, detailed and holistic view of the visibility and affect of the material culture of big game hunting in the period.
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McCombe, Robert. "Gold under gravel, gold under glass : Anglo-Saxon material culture through excavation, collection and display 1771-2010." Thesis, University of Manchester, 2012. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648924.
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Léone, Julie. "La céramique à paroi fine de Musarna (Étrurie méridionale) : typologie, production, circulation." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3006.
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La céramique à paroi fine est un groupe de vaisselle romaine parmi les plus représentés sur les sites archéologiques. Un échantillonnage important (environ 25000 fragments) a été mis au jour dans les différents secteurs fouillés de la cité étrusco-romaine de Musarna (territoire de Tarquinia). Son étude a permis d'identifier cinquante-huit formes de vases et de retracer leur évolution technique. Leur comparaison avec le matériel provenant des sites voisins, de l'Étrurie, de toute la péninsule italique, et des territoires conquis a conduit à l'identification de plusieurs zones de production. Divisés en six phases chronologiques, leur datation s'étend entre le dernier tiers du IIe siècle av. J.-C. et le IIe siècle ap. J.-C<br>The Thin-walled ware is one of the most represented class of vessel ceramic found on roman archaeological sites. An important batch (around 25000 shards) has been found in the various areas explored in one of the etrusco-roman cities of Tarquinia's territory: Musarna. The study of that Corpus allowed us to identify fifty-eight forms of vases and to trace their technological evolution. The parallels found with the material coming from others sites in Etruria, in the whole Italy and in the conquered territories have evidenced the existence of several productions areas. The Thin-walled ware from Musarna can be divided in six chronological phases, distributed between the last third of the II century B.C. and the II century A.D
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Flyckt, Sara, Hanna Holmgren, and Amanda Werner. "The Value of Personal Communication VS Performance in Supplier Relationships in a Digital Era : A Multiple Case Study Explaining the Online Organizational Buying Behaviour in Sweden & UK when Purchasing Display Material." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-44106.
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Problem: The increasing online operations of the B2B market has led to companies being able to operate all over the world, making them exposed to various markets with different preferences of supplier relationships. For that reason, it is important for companies to consider aspects such as digitalization, culture and buyer-seller relationships when conducting business with foreign companies. One industry that has been reluctant towards this online shift is the display materials industry. However, during recent years display material suppliers operating online have become more successful. Therefore, understanding companies purchasing process when buying display material online is necessary. Purpose: This thesis aims to explain and investigate the online organizational buying behavior of British and Swedish organizations while purchasing display materials and several factors that influence it, such as culture, digitalization and buyer-seller relationships are examined. Method: A qualitative approach with semi-structured interview was used to conduct this research. Eight participants from British and Swedish organizations who are customers of the display material company SignMax were interviewed. The data collected has been analyzed together with literature on online organizational buying behavior and the influencing factors. Results: The findings of this research showed that the level of product involvement and national culture decides and forms the importance of the purchase, the purchasing process and the type of supplier-relationship desired. Additionally, the attitude towards digitalization and the experience of online purchases determine the level of personal contact and support. Based on the empirical analysis the findings showed that for the cases of UK and Sweden, UK was more performance-oriented in their supplier relationships and highly valued ease of use and a smooth purchasing process. Sweden on the other hand, focused more on soft-values such as personal contact and support.
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Brown, Abigail R. "Reframing the Everyday: Negotiating the Multiple Lives of the Ordinary." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242324187.
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Thesis (Master of Architecture)--University of Cincinnati, 2009.<br>Advisor: Rebecca Williamson. Title from electronic thesis title page (viewed July 23, 2009). Includes abstract. Keywords: museums; curators; historic preservation; Washington, D.C.; adaptive reuse; commerce; museum display; exhibition design; material culture. Includes bibliographical references.
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Zerman, Ece. "Nouvelles pratiques de représentation de soi de la fin de l’Empire ottoman à la république de Turquie : écrits du for privé, photographies, intérieurs." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH166.
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Cette thèse vise à étudier des egodocuments dans une période de transformations politiques et sociales qui s’étend des années 1890 aux années 1930. Notre réflexion se base sur des études de cas : un journal intime, des agendas, des lettres, des carnets de famille, des albums de photographies, des photographies d’intérieurs ainsi qu’une corpus de sources publiées. A partir de la fin du XIXe siècle de nouvelles formes de représentation de soi se développaient dans l’Empire ottoman, souvent reliées aux discours politiques émergents. La diffusion de la photographie et des nouvelles techniques de reproduction des textes et des images a certainement contribué au développement de ces nouvelles formes de représentation. Notre objectif est d’analyser dans une démarche englobante des moyens écrits et visuels de représentation de soi qui s’entremêlaient dans la plupart des cas. L’étude de cette documentation permet d’analyser à l’échelle individuelle la façon dont les sujets de cette étude ont fait l’expérience d’un monde en transformation, comment ils/elles ont construit et gardé leurs souvenirs, comment ils/elles se sont projetés au futur dans une époque de bouleversements politiques et sociaux. Cela nous permet aussi de suivre la circulation transnationale des objets et des pratiques, ainsi que les manières avec lesquelles ils sont adaptés et réappropriés par une « nouvelle base sociale ». Nos sources sont l’objet-même de notre étude. L’intérêt est aussi bien porté sur la matérialité et les usages de ces documents que sur ce qu’ils nous apprennent sur l’expérience, les émotions, les sens, la mise-en-scène ou la performance de soi que mettent en œuvre chacun.e.s de nos auteurs<br>This thesis aims to study egodocuments in a period of political and social transformations, from the 1890s to the 1930s. Our study is based on case studies: A diary, almanacs, letters, photo albums, interior photographies as well as a series of published sources. From the end of the 19th century, new forms of self-representation developed in the Ottoman Empire, often related to emergent political discourses. The diffusion of photography and the new techniques of reproduction of texts and images contributed to the development of these new forms of self-representation. Our aim is to analyze written and visual tools of self-representation, that are most of the time intermingled, in an all-encompassing approach. The study of this documentation enables us to analyze, at the individual level, the ways in which the subjects of this study made experience of a world in transformation, constructed and preserved their memories, imagined their future. This also allows us to follow the transnational circulation of objects and practices, as well as their adaption and reappropriation by a “new social base”. Our sources are also the objects of our study. We are also interested in the materialities and uses of these documents as well as in what they tell us on the experiences, emotions, senses and the mise-en-scène or the performance of the self
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Beaujot, Ariel. "The Material Culture of Women's Accessories: Middle-class Performance, Race Formation and Feminine Display, 1830-1920." Thesis, 2007. http://hdl.handle.net/1807/26449.
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This dissertation investigates the cultural meaning ascribed to feminine fashionable objects such as gloves, fans, parasols and vanity sets. I pay particular attention to issues of middle-class formation, the performance of gender, and the materiality of race, empire and colonialism. While these issues lie at the heart of British historiography, this project is written from a unique perspective which privileges cultural artifacts through material culture analysis. While the emergence of the middle class is typically studied as a masculine/public phenomenon, this project corrects the overemphasis on male activity by showing that middle-class women created a distinctive ‘look’ for their class via the consumption of specific goods and through participation in daily beauty rituals. Adding to these ideas, I argue that Victorian women performed a distinct type of femininity represented as passivity, asexuality, innocence, and leisure. By studying the repetitive gestures, poses and consumption practices of middle-class women, I show that certain corporeal acts helped to create Victorian femininity. This work also suggests that women participated in the British colonial project by consuming objects that were represented in the Victorian imagination as imperial spoils. As such, I argue that imperialism penetrated the everyday lives of Britons through several everyday objects. Empire building also created anxieties surrounding questions of race. Women’s accessories, such as gloves and parasols, helped British women to maintain their whiteness, an important way of distinguishing the ‘civilized’ Britons from the ‘uncivilized’ tanned colonial peoples. Overall this project showed that within the everyday objects consumed by women we can identify the anxieties, hopes and dreams of Victorians.
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Liu, Yi-Min, and 劉宜旻. "The Innovative Display of Historical Material and Culture: the History Exhibition of the 300-Year Commemoration of Taiwan Culture in 1930." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/ymgh97.
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碩士<br>國立臺灣大學<br>藝術史研究所<br>102<br>The three hundred year commemoration of Taiwan Culture had been held from October 26th to November 4th, in 1930. The purpose of this commemoration was to recognize the three hundred year history of Taiwan since 1630, and to retrospect the development of Taiwan during the Japanese colonial period. The commemoration included History Exhibition, Industry Exhibition, Agriculture Display, Sanitary Display, baseball competition, and many entertainment activities. While it does not seem to be different from the usual expos held in Taiwan, the commemoration certainly had its own unique attribute. First of all, it would be the first time that an expo selected culture as the main theme. Second, the first ever History Exhibition was presented. As the core of the commemoration, the History Exhibition constructed Taiwan history by historical materials and narrated the history context in a visual way.
Though the commemoration attempted to introduce the history of Taiwan, it actually mainly reflected the history of Tainan region, as most of the committees and members of the event were Tainan literates and industrialists, and the major part of displays had strong connection with Tainan as well.
In order to mitigate the uniqueness and the complexity of commemoration and of History Exhibition, the first chapter of this thesis is going to comb through the history and the pattern of expos in Taiwan, and then bringing forth an outline of the commemoration and History Exhibition. Second chapter would focus on displays, trying to determine what and why those historical materials had been selected, and how the materials reveal both conservative and novel aspect of historical concept of the exhibition.
I presumed the crucial factor transferring traditional history material into “cultural specimen” to be the knowledge of archaeology. Therefore, in the third chapter, I will discuss how the conjuncture of history and archaeology influenced the way people defined cultural objects, and how it triggered a group of connoisseur’s interest in the field of archaeology. The new collections brought by archaeological trend had become the foundation of exhibition. The fourth chapter will introduce Inou Kanori and Hotsuki Ozaki, who showed great cultural influence in Japanese colonial Taiwan and reviewing their historical and archaeological works for the comparison of the concept between those history works and history exhibition. Moreover, Hotsuki Ozaki had come up with the concept of culturatis in which suggested a modern intellectual having the responsibility to study the regional culture and history.
These culturatis played an important role in the history exhibition. Without academic training, they searched for new historical materials with passion, and it is their effort that formed the body of exhibition. While devoting themselves to the field research, these culturatis reconstructed their Tainan identity by an innovative history narration.
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Murray, Sharon E. Pullen Daniel J. "The gaze of the beholder how national identity in nineteenth-century England was reinforced by the collection and display of ancient Egyptian material culture /." 2004. http://etd.lib.fsu.edu/theses/available/etd-11152004-210811.
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Thesis (M.A.)--Florida State University, 2004.<br>Advisor: Dr. Daniel J. Pullen, Florida State University, College of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Jan. 18, 2005). Includes bibliographical references.
Books on the topic "Circulation and display of material culture"
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Culture on display: The production of contemporary visitability. Open University Press, 2003.
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Exhibiting madness in museums: Remembering psychiatry through collections and display. Routledge, 2011.
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Aaron, Binkley David, and National Museum of African Art (U.S.), eds. Spectacular display: The art of Nkanu initiation rituals. Smithsonian National Museum of African Art, 2001.
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Wynne-Jones, Stephanie. A Material Culture. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198759317.001.0001.
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A Material Culture focuses on objects in Swahili society through the elaboration of an approach that sees both people and things as caught up in webs of mutual interaction. It therefore provides both a new theoretical intervention in some of the key themes in material culture studies, including the agency of objects and the ways they were linked to social identities, through the development of the notion of a biography of practice. These theoretical discussions are explored through the archaeology of the Swahili, on the Indian Ocean coast of eastern Africa. This coast was home to a series of "stonetowns" (containing coral architecture) from the ninth century AD onwards, of which Kilwa Kisiwani is the most famous, considered here in regional context. These stonetowns were deeply involved in maritime trade, carried out among a diverse, Islamic population. This book suggests that the Swahili are a highly-significant case study for exploration of the relationship between objects and people in the past, as the society was constituted and defined through a particular material setting. Further, it is suggested that this relationship was subtly different than in other areas, and particularly from western models that dominate prevailing analysis. The case is made for an alternative form of materiality, perhaps common to the wider Indian Ocean world, with an emphasis on redistribution and circulation rather than on the accumulation of wealth. The reader will therefore gain familiarity with a little-known and fascinating culture, as well as appreciating the ways that non-western examples can add to our theoretical models.
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Colonial Collecting And Display Encounters With Material Culture From The Andaman And Nicobar Islands. Berghahn Books, 2013.
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Allan, David. Circulation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199574803.003.0003.
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This chapter studies how novels circulate among readers between the eighteenth and the early nineteenth centuries. The circulation of texts was plainly central to the broader culture of this period as well as to the social history of its literature. In fact, it performed many important functions in a rapidly changing environment. The mechanisms employed provided ample opportunities for sociability, for the cultivation and display of politeness, and even for genuine philanthropy. They also gave scope for the determined pursuit of self-improvement, for personal education, and, not least, for deep inward satisfaction. In all of this the novel was a crucial factor—helping, as it also benefited from, these vital transformational processes. Above all, its extraordinary cultural and commercial success between 1750 and 1820 confirms much about the scale and sophistication of the methods by which texts were now becoming available to readers.
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Gannon, Anna. The Iconography of Early Anglo-Saxon Coinage. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780199254651.001.0001.
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This is the first scholarly art-historical appraisal of Anglo-Saxon coinage, from its inception in the late sixth century to Offa's second reform of the penny c.792. Outside numismatic circles, this material has largely been ignored because of its complexity, yet artistically this is the most vibrant period of English coinage, with die-cutters showing flair and innovation and employing hundreds of different designs in their work. By analysing the iconography of the early coinage, this book intends to introduce its rich legacy to a wide audience. Anna Gannon divides the designs of the coins into four main categories: busts (including attributes and drapery), human figures, animals and geometrical patterns, presenting prototypes, sources of the repertoire and parallels with contemporary visual arts for each motif. The comparisons demonstrate the central role of coins in the eclectic visual culture of the time, with the advantages of official sanctioning and wide circulation to support and diffuse new ideas and images. The sources of the motifs clarify the relationship between the many designs of the complex Secondary phase (c.710-50). Contemporary literature and theological writings often offer the key to the interpretation of motifs, hinting at a universal preoccupation with religious themes. The richness of designs and display of learning point to a sophisticated patronage with access to exotic prototypes, excellent craftsmanship and wealth; it is likely that minsters, as rich, learned, and well-organized institutions, were behind some of the coinage. After the economic crises of the mid-eighth century this flamboyant iconography was swept away: with the notable exeption of the coins of Offa, still displaying exciting designs of high quality and inventiveness, reformed issues bore royal names and titles, and strove towards uniformity.
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Coleborne, Catharine, and Dolly MacKinnon. Exhibiting Madness in Museums: Remembering Psychiatry Through Collection and Display. Taylor & Francis Group, 2017.
Find full textBook chapters on the topic "Circulation and display of material culture"
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Fontaine, Laurence. "10. Material culture and the circulation of goods in the early modern period." In Wealth and Poverty in European Rural Societies from the Sixteenth to Nineteenth Century. Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.rurhe-eb.4.00131.
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Hinton, David A. "Material Culture and Social Display." In Gold and Gilt, Pots and Pins. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780199264537.003.0012.
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The trend towards increasing secular interest in jewellery was probably maintained throughout the thirteenth century, though precise dating of individual pieces remains difficult. With only small amounts of gold to be found in the south of France and Hungary, western Europeans continued to depend upon both gold and gems coming by overland routes from or through the Arab world, with Italian merchants acting as intermediaries. In 1257 Henry III was able to attempt to imitate continental kings by issuing gold coins, not to facilitate trade but to attract gold into the mint to back up his loans and pledges, and to use as alms. The care that went into the coins’ design shows that they were thought of as having prestige value, and the decision to represent the king carrying the orb and sceptre was most probably made in homage to one of the issues of his revered predecessor Edward the Confessor; the royal seal was also changed, to a design that adapted Edward’s image of an enthroned king ruling as a judge like Solomon rather than as a military leader with a sword. Henry’s gold coins were only produced in small numbers and for a very short time, but they show that the importance of the symbolism of a currency was still understood, though no more effort was made with the designs of everyday silver coins than in previous reigns. The amount of coinage in circulation is shown both by single finds and hoards, not only in England but in Wales and Scotland as well. Excavation of the church at Capel Maelog, Powys, produced coins of Henry III, Edward I (1272–1307), and Richard II (1377–99), suggesting that the use of English money had spread into Welsh culture. The Welsh kings did not mint their own coins, however, unlike the kings of Scotland, whose coins were allowed to circulate in England just as English ones did north of the border. Presumably exclusion of a rival’s image was no longer a matter of pride. No hoard in Britain hidden during the middle part of the thirteenth century has objects in it to help to establish a chronology for jewellery.
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Hayes, John. "Sacramental Expressions." In Hard, Hard Religion. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469635323.003.0005.
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This chapter looks closely at a related group of practices and beliefs: grave decoration, Christmas lore, folk sermons, baptism, and praying spots. It traces the New South practice of decorating graves with household objects to African cultural practices, and New South Christmas lore (and related lore) to legends circulating in modernizing England. Connecting these with other practices and oral forms common among folk Christians, it shows that they all display a strong sacramental impulse—the longing to manifest the sacred in tangible, material ways. While the dominant religious culture wrought a “disenchantment” of the world, the cultural work of folk Christians envisioned an enchanted world where seemingly ordinary, mundane things were transformed and infused with sacred meaning.
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Parkinson, R. B. "Libraries in Ancient Egypt, c.2600–1600 BCE." In Libraries before Alexandria. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199655359.003.0003.
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This chapter surveys the textual and archaeological evidence for libraries in ancient Egypt c.2600–1600 BCE, discussing surviving administrative ‘archives’ as models for how literary texts could have been circulated and stored. The implications of the material form of surviving manuscripts for issues of manufacture and storage are discussed. Possible evidence for extensively centralized systems of circulation and storage is reviewed, together with specific case studies of private archives form the town of el-Lahun and examples of Middle Kingdom tomb-libraries—collections of manuscripts deposited in private individual’s burial chambers as displays of culture and prestige.
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"Preliminary Material." In Culture and Circulation. BRILL, 2014. http://dx.doi.org/10.1163/9789004264489_001.
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Talairach-Vielmas, Laurence. "Gruesome models: European displays of natural history and anatomy and nineteenth-century literature." In Interventions. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784995102.003.0008.
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In ‘Gruesome models: European Displays of Natural History and Anatomy and Nineteenth-Century Literature’ Laurence Talairach-Vielmas explores the process in which from the second half of the eighteenth century to the end of the nineteenth century, medical museums opened their doors throughout Europe and anatomical models circulated between Italy, Germany, France and England, serving to educate professional medical audiences and thrilling lay audiences keen on freaks and fairs. The chapter argues that the popularisation of anatomy and the circulation of anatomical models and modellers, exhibitions and anatomists throughout Europe was reflected in nineteenth-century literature, from Gothic novels to realistic narratives and even children’s fiction. Looking at the impact of the material culture of medicine upon the literary field, Talairach-Vielmas examines the relationship between literature and the European anatomical culture by exploring nineteenth-century narratives from Mary Shelley’s Frankenstein (1818) in the first decades of the nineteenth-century to Charles Dickens’s fiction in the 1860s, analysing novels alongside travel guides and journal articles which demonstrate how the specific example of anatomy influenced the literary culture.
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Wynne-Jones, Stephanie. "The Indian Ocean before the Arrival of Europeans." In A Material Culture. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198759317.003.0012.
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The precolonial Swahili coast was thus a region united through particular material practices. In this volume, consumption and display have been emphasized as aspects that are very clearly evident in the archaeological record. More ephemeral practices, such as ritual, dance, or public acts of memorialization, are only now being incorporated into our understandings, bringing the picture of the precolonial coast into line with what is known of more recent periods (see Chapter 8). Yet tangible acts of display and the use of material objects in certain contexts served to delineate a particular cultural area, as well as to link them to a broader Indian Ocean sphere; the objects bound up into prominent acts were often derived from that world. As has been discussed, this served a purpose on the Swahili coast, where cosmopolitanism and the ability to claim connections with distant regions have long been important in the negotiation of identities. This might be seen as an unequal relationship: a region in which external symbols had special power, whether due to their intrinsic qualities or to the cultural hegemony of the societies from which they came (per Gosden 2004). This has often been the assumption on the eastern African coast, where commodities such as gold or ivory were traded for exotic objects such as glazed ceramics or beads. Yet this inequality is a difficult notion to test. First, as discussed in earlier chapters, the ocean was only one of the spheres of interaction in which the Swahili were active, albeit one that they chose to highlight. Second, it is probable that the imported goods we see on the coast, often in tiny quantities, were just a very small part of a much larger commodity trade. Ships would not have travelled empty to this region, and so the bulk of their cargo must have been made up of items we now do not see: cloth, foodstuffs, or raw materials long since consumed or formed into manufactured objects.
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Wynne-Jones, Stephanie. "Swahili Material Worlds." In A Material Culture. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198759317.003.0013.
Full textAbstract:
The abiding importance of objects and spaces in the Swahili world makes this a fertile ground for archaeological exploration, as well as for material ethnography. This volume therefore picks up on a rich history of writing on objects and settings on the coast, and in the Indian Ocean world more generally. As such, the eastern African coast has potential for broader considerations of the role of objects in social life, an important field of both archaeological and anthropological interest. The more recent past on the Swahili coast has long been recognized for this potential. Contemporary understandings of materiality on the Swahili coast—notably in Lamu and Zanzibar—have provided key case studies for archaeological treatments of objects and spaces (particularly Donley 1982, 1987; Donley-Reid 1990a, b) as well as for the growing field of material culture studies in global history (Prestholdt 1998, 2008). The contemporary world of objects and structured spaces also, of course, provides a framework for viewing the precolonial coast, and tropes that have emerged in Swahili historiography often owe their roots to ethnography. The importance of the Swahili house, for example, has been stressed in contemporary Lamu and Zanzibar, with authors demonstrating links between stone-house ownership, ancestry, modes of occupancy, and the self-identification of groups in the Swahili world (Allen 1979, 1981; Bissell 2000; el-Zein 1974; Ghaidan 1971, 1974, 1975; Myers 1996; Sheriff 1992, 2001–2). The importance of cosmopolitanism and overseas connections is also emphasized in the interiors of these houses—a practice that appears of long standing (Meier 2009; Prestholdt 2008). Forms of consumption and display, and particularly the practice of conspicuous generosity, also have a particular power on the Swahili coast, wielded more recently by newcomer groups as a means of creating identities in coastal society (Fair 1998, 2001; Glassman 1995). Even the identity claims of coastal urbanites, which in the twentieth century emphasized Arab ancestry in order to gain a competitive advantage under European colonial powers, echoed the claims for ‘Shirazi’ origins found in the origin stories of earlier Swahili settlements and families (Allen 1982; Pouwels 1984; Spear 2003).
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Wynne-Jones, Stephanie. "Vumba Kuu: Negotiating Similarity and Difference." In A Material Culture. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198759317.003.0009.
Full textAbstract:
Identity and society in Swahili towns have tended to be considered on the scale of a settlement or region; as discussed in the previous chapter, it is possible to understand urban Swahili identity relative to surrounding populations. At Kilwa Kisiwani, one way that this can be recognized is in the relationship between the town and its wider hinterland, as this creates a sense of the urbanism of Kilwa through the practices that went on there. Display and the material setting have been emphasized as a means by which objects and architecture were bound up into social dynamics, and served as active components of the formation of urban identities. This sense of creating social worlds through the material setting is particularly apposite along the East African coast in the fourteenth–fifteenth centuries. As discussed, this was a time when many new towns were founded, or elaborated with coral buildings. Even sites containing a majority of wattle-and-daub architecture were often augmented with a coral mosque during this period. This incorporation of new architectural technologies was a part of adopting the emergent material forms of Swahili towns, as well as providing a space for the practice of Islam and a new way of dwelling within stone houses. As suggested by the example of Kilwa Kisiwani, though, the towns of the fourteenth and fifteenth centuries were also shaped by more mundane practices of consumption relating to food and to everyday objects. This created a distinction between town and countryside through new ways of living that defined the urban milieu. The process of distinction and identification will also have been an active one within the town and among the urban population; more recent archaeologies have thought through the ways that Swahili urban society was internally differentiated. Here, too, a biographical approach to practice recovers a sense of the ways that coastal inhabitants have lived those identities, which were intimately bound up with changing forms of materiality. For these considerations, the town and polity of Vumba Kuu is an important case study.
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Pellizzari, Peter. "Print Culture and Distribution." In Pen, print and communication in the eighteenth century. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622300.003.0014.
Full textAbstract:
This chapter analyses how the essays that made up the Federalist Papers were distributed and the extent of their circulation in 1787–8. It examines the contingent nature of early American transportation infrastructure within the context of print circulation. Because of the many hazards in transporting newspapers, Publius—the pseudonym under which James Madison, Alexander Hamilton, and John Jay published their essays—was not a continentwide spokesman for the entirety of the Federalist cause during the ratification debates, but rather a local phenomenon, whose provincial life was limited by countless contingencies. By examining the circulation of the Federalist Papers, this chapter helps clarify the meaning of the term ‘print culture’ and underscores the importance of material culture to the history of ideas.
Conference papers on the topic "Circulation and display of material culture"
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Lee, Ming-Chun, and Manasi Bapat. "Second life of great American parking garages: Exploring the potential of adaptive reuse of urban parking structures in the American cities." In 24th ISUF 2017 - City and Territory in the Globalization Age. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5908.
Full textAbstract:
The structure of American cities has been greatly influenced and transformed with the onset of the car culture and its ever evolving impacts to the everyday life of American people. The early 1900’s experienced a noticeable growth in the demand and need for automobiles resulting in the increasing need for parking spaces in the city. Eventually, multi-level parking garages were built to suffice this requirement of the ever-growing city. However, increase of parking spaces around urban fringes; raise in gas prices; better public transit options in downtown cores; growing public awareness of reducing automobile dependence in order to address issues of sustainability; advancement in autonomous vehicles and demand-based traffic management, all are making existing parking garages obsolete and useless. The era of designing cities as if car access alone was sufficient appears to have ended. An opportunity lies where the existing underused parking garages can be repurposed into residential, entertainment, or work spaces rather than paying up for demolition and construction costs of an altogether new structure. It can be projected that this technical and architectural retrospection of existing parking garages can prove as a catalyst in resolving existing issues of the city. This paper traces past projects that have attempted to convert existing urban parking garages to other uses in North America. It then analyzes their design and construction approaches and discusses the implications of this type of conversion to the urban form of the areas surrounding these projects. Our initial investigation concludes with an analytical framework that includes the following criteria: type of garage structure; vertical circulation and ramp configuration; material and construction method; floor plan arrangement; size in relation to block and street orientation; surrounding area condition in terms of land use and street network. Furthermore, implications of garage conversion to urban form of surroundings can be examined by these measures: remediation of building façade; alternation in setback between public right of way and building footprint; change in active usage along building frontage.