Journal articles on the topic 'Icons, Ethiopian'

SummaryTo the Italian historian the Battle of Adwa in March 1896 has offered a field of interpretation which has been heavily marked by the events that occurred between (and within) the two countries—Ethiopia and Italy—before and after the battle. Adwa has been variously depicted by Italian historiography of the liberal period as a major military defeat, a political mistake by Crispi's expansionist government and the result of deep contrasts within the newly born state over the ‘colonial burden'. Fascist historiography painted Adwa as proof of liberal decay and political inefficiency. Adwa's name could be avenged only in the battlefield, which was done during Mussolini's invasion of Ethiopia in 1935-36. From the Ethiopian point of view, Adwa's image changes no less. Until recently, the Battle of Adwa was painted as the landmark for Ethiopian unification and independence during the colonial era. Menelik's momentous victory at Adwa crowned his bid for power in the national arena, while his successful ability to stave off external colonial pressure appeared to cancel, or rather conceal, the internal policy of expansion and consolidation of his country's rule in the region. Today's insistence on Adwa as an African victory appears to be the dominant historiographical representation. The different interpretations all contain elements of truth, yet all, if frozen into historiographical truths, become embarrassing to the historian who needs documents, rather than monuments, as tools of analysis. To many historians both in Italy and Ethiopia, Adwa's respective symbolism of victory/defeat has been transformed into an icon, an historiographical monument, unassailable and immovable. The centenary of Adwa allows us to reconsider historical events of a shared past as critical documents and biased representations reflecting their own culture and time. This article attempts to deconstruct the historiographical monument of Adwa in Italian society so as to transmit such a heavily coded event to the critical examination of future historians in both Italy and Ethiopia.

The paper considers a carved priestly cross of the XIX century from the representative collection of Ethiopian art of the Russian Icon Museum. This is one of the typical Ethiopian crosses with a characteristic rhomboid shape, with the image on the front side of the liturgical procession and the icon of the Mother of God, and ornamented on the back with a braided pattern with cross-shaped ornaments woven into it. The image of the dancing participants of the liturgical procession with drums and sistra represents a unique fusion of different traditions, the influence of the Old Testament tradition was manifested in the symbolic image of tabot.

This study aims to explore Däbrä Aron, a least known monastic rock-cut church of the 14th century of Christian Ethiopia. Däbrä Aron is named after abba Aron, a famous Ethiopian monk, the founder and hewer of the monastery, which is established at Däbrä Daret, a mountain situated along the upper course of Täkkäzze River. It is a monastery that integrates troglodytic and mountainous monastic landscapes. Like Däbrä Gol, where Aron experienced his monastic life, Däbrä Daret was centre for coenobitic monastic life and opposition against immoral practices ofSolomonic kings who in different times exiled Aron and other monastic men. The church is excavated in to a white soft tuff rock and it is one of the few instances for the declining rock-church tradition of the Solomonic period. Expansion works are made internally by using gudəb, abba Aron’s ax-like excavation tool which is still preserved in the church. It has a complex layout constituting different parts – elongated anteroom, aisles, nave, tripartite sanctuary and compartmented chapels – separated by unevenly shaped columns with rough capitals and arches. This caveis unique largely by its səqurät, aperture of the cave’s roof opened into the sky. The nave’s səqurät, rectangular in shape, allows, except rainfall droplets, entrance of sunlight into the church. The reputation of Däbrä Aron is partly associated with the acceptance of this feature as icon of the architectural excellence and spiritual devotion of abba Aron by whom many Christians were attracted into his monastic life. The cave also has an engraved processional cross decorated with symbolical trifoliate motifs

Ethiopia is one of the few African countries that have preserved the antiquities of early and medieval Christianity. The cave church of Addis Amba Mädhané Aläm (the church of Saviour of the World), is one of the little known troglodytic heritages found in Mäqét, North Wällo. This study aims to uncover the historical, architectural and artistic values of the cave church that has unique cultural testimonies.Data for the study were collected through fieldwork, interviews, and archival consultations. The cave is believed to have been excavated by Musé, the second bishop of Ethiopia. The church has six different caves cut into a rock face. Five of them are chapels, treasuries and gusting rooms. This paper discusses the cave which is the church of Mädhané Aläm. It has a complex layout compartmented into chanting room, holy and sanctuary. The holy and sanctuary form the nave which is rock-hewn monolithic feature detached from the main rock except on its roof and base. This planning is uncommon in the rock cave church tradition of Ethiopia because the nave is monolithically carved within a cave that should not be confused with churches built under a natural cave. The old enough canopy, a large artistic processional umbrella permanently projected over the chanting place also distinguishes this cave church. This is an indigenous piece of handcraft crafted locally from the bark of a tree. It is painted with different symbols and saint icons. The cave is also home to archaic mural paintings.

This article refocuses the discussion of identity in narrative and practice by looking at structuring-in-practice and beyond to the discourse functions of identity. The narrative of an Ethiopian Israeli female college student is analyzed, wherein she tells about changing elementary schools — a context mirroring the immediate situation in her new academic setting. The analysis identifies and labels the partial, microgenetic elicitation of identity-attributable imagery in each utterance and then consolidates the accumulation of those images into the various groupings relevant in the narrative. In the particular narrative studied here all consolidated images contrast against the one identity-attributable image that is interactionally advantageous. This result, found in all 28 prototypical narratives in my corpus of 46, is evidence of a poetic identity structuring of narrative serving two discourse functions: (1) metasemantic- the contrastive identity work creates and indexes the narrative’s Complication and its subsequent Resolution; (2) metapragmatic- the contrastive identity work creates and indexes the identity for impression management. The contrastive basis of the poetic identity structure of narrative is indicative of much Western identity and narrative construction. Thus, identity and narrative are shown to stand in reflexive relation one to the other, where identity is an ‘indexical icon’, a map of itself drawn in the very narrative from which it emerges.

Unlike other developmental relationships, BRI is the most promising icon in transforming the construction industry and built environment in Africa; the infrastructure developments like highways, bridges, skyscrapers, and aviation take in advanced construction technologies, methods, and skills. However, the technological capability of Chinese construction firms is not transferred in the highest capacity to the host countries. Nevertheless, the main focus is on delivering modern railways, highways, and skyscrapers. Thus, this research aimed to propose an adaptable technology transfer model by identifying the theoretical concepts in the body of knowledge, exploring the prior technology transfer models and the best experiences. The findings indicated that the BRI inclusive countries in Africa benefit from infrastructure development with an investment amount of more than US$33 billion with potential technology spillovers, but in an unplanned, and not best suited to their conditions because of the lack of a single-country-based technology, transfer model ahead of project implementation. Using a systems thinking approach and a causal loop diagram tool, the authors created a conceptual model to guide the Africa’s construction technology transfer through BRI. The research also examined case study projects in Ethiopia to assert the new model’s practicability over the existing processes. Moreover, the university–industry linkage structures, can facilitate the process through R&D and innovation in the whole project life cycle.

Abstract Since the end of the Cold War, the World Bank and other Western development agencies have prescribed restructuring land rights in post-communist economies to promote land markets, with the goal of alleviating poverty and social conflicts. But restructuring land rights in such settings is more difficult than it may seem. Ethiopia’s efforts in this area have produced disparate laws that have exacerbated both the intensity and the frequency of land conflicts. This article analyzes all land cases decided by the Council of Constitutional Inquiry (CCI) and the House of Federation (HoF), Ethiopia’s constitutional review bodies, from 1998 to 2018. It shows that from 1998 to 2014, the trial and appellate courts were favorably disposed toward the policies of international financial agencies, and that the CCI and the HoF acquiesced. However, starting in 2014, following a countrywide protest connected to land dispossession, the CCI and the HoF have reversed the lower courts’ judgements by invoking constitutional clauses declaring that land belongs to the Ethiopian nations and that it cannot be alienated. The country’s experience reveals the perils of restructuring land rights without paying close attention to distributive concerns and the needs of those who end up being excluded from property access.

The pop cultural moment that most typifies the social psychology of invasion for many of us is Orson Welles's 1938 coast to coast CBS radio broadcast of Invaders from Mars, a narration based on H.G. Wells's The War of the Worlds. News bulletins and scene broadcasts followed Welles's introduction, featuring, in contemporary journalistic style, reports of a "meteor" landing near Princeton, N.J., which "killed" 1500 people, and the discovery that it was in fact a "metal cylinder" containing strange creatures from Mars armed with "death rays" which would reduce all the inhabitants of the earth to space dust. Welles's broadcast caused thousands to believe that Martians were wreaking widespread havoc in New York and Jersey. New York streets were filled with families rushing to open spaces protecting their faces from the "gas raids", clutching sacred possessions and each other. Lines of communication were clogged, massive traffic jams ensued, and people evacuated their homes in a state of abject terror while armouries in neighbouring districts prepared to join in the "battle". Some felt it was a very cruel prank, especially after the recent war scare in Europe that featured constant interruption of regular radio programming. Many of the thousands of questions directed at police in the hours following the broadcast reflected the concerns of the residents of London and Paris during the tense days before the Munich agreement. The media had undergone that strange metamorphosis that occurs when people depend on it for information that affects themselves directly. But it was not a prank. Three separate announcements made during the broadcast stressed its fictional nature. The introduction to the program stated "the Columbia Broadcasting System and its affiliated stations present Orson Welles and the Mercury Theatre on the Air in The War of the Worlds by H.G. Wells", as did the newspaper listing of the program "Today: 8:00-9:00 -- Play: H.G. Wells's 'War of the Worlds' -- WABC". Welles, rather innocently, wanted to play with the conventions of broadcasting and grant his audience a bit of legitimately unsettling, though obviously fictitious, verisimilitude. There are not too many instances in modern history where we can look objectively at such incredible reactions to media soundbytes. That evening is a prototype for the impact media culture can have on an audience whose minds are prepped for impending disaster. The interruption of scheduled radio invoked in the audience a knee-jerk response that dramatically illustrated the susceptibility of people to the discourse of invasion, as well as the depth of the relationship between the audience and media during tense times. These days, the media itself are often regarded as the invaders. The endless procession of information that grows alongside technology's ability to present it is feared as much as it is loved. In the current climate of information and technological overload, invasion has swum from the depths of our unconscious paranoia and lurks impatiently in the shallows. There is so much invasion and so much to feel invaded about: the war in Kosovo (one of over sixty being fought today) is getting worse with the benevolence and force of the UN dwindling in a cloud of bureaucracy and failed talks, Ethiopia and Eritrea are going at it again, the ideology of the Olympic Games in Sydney has gone from a positive celebration of the millennium to a revenue-generating boys club of back scratchers, Internet smut is still everywhere, and most horrifically, Baywatch came dangerously close to being shot on location on the East Coast of Australia. In this issue of M/C we take a look at literal and allegorical invasions from a variety of cleverly examined aspects of our culture. Firstly, Axel Bruns takes a look a subtle invasion that is occurring on the Web in "Invading the Ivory Tower: Hypertext and the New Dilettante Scholars". He points to the way the Internet's function as a research tool is changing the nature of academic writing due to its interactivity and potential to be manipulated in a way that conventional written material cannot. Axel investigates the web browser's ability to invade the text and the elite world of academic publishing via the format of hypertext itself rather than merely through ideas. Felicity Meakins's article Shooting Baywatch: Resisting Cultural Invasion examines media and community reactions to the threat of having the television series Baywatch shot on Australian beaches. Felicity looks at the cultural cringe that has surrounded the relationship between Australia and America over the years and is manifested by our response to American accents in the media. American cultural imperialism has come to signify a great deal in the dwindling face of Aussie institutions like mateship and egalitarianism. In a similarly driven piece called "A Decolonising Doctor? British SF Invasion Narratives", Nick Caldwell investigates some of the implications of the "Britishness" of the cult television series Doctor Who, where insularity and cultural authority are taken to extremes during the ubiquitous intergalactic invasions. Paul Mc Cormack's article "Screen II: The Invasion of the Attention Snatchers" turns from technologically superior invaders to an invasion by technology itself -- he considers how the television has irreversibly invaded our lives and claimed a dominant place in the domestic sphere. Recently, the (Internet-connected) personal computer has begun a similar invasion: what space will it eventually claim? Sandra Brunet's "Is Sustainable Tourism Really Sustainable? Protecting the Icon in the Commodity at Sites of Invasion" explores the often forgotten Kangaroo Island off the coast of South Australia. She looks at ways in which the image of the island is constructed by the government and media for eco-tourism and how faithful this representation is to the farmers, fishermen and other inhabitants of the island. Paul Starr's article "Special Effects and the Invasive Camera: Enemy of the State and The Conversation" rounds off the issue with a look at the troubled relationship between cutting-edge special effects in Hollywood action movies and the surveillance technologies that recent movies such as Enemy of the State show as tools in government conspiracies. The depiction of high-tech gadgetry as 'cool' and 'evil' at the same time, he writes, leads to a collapse of meaning. This issue of M/C succeeds in pointing out sites of invasion in unusual places, continuing the journal's tradition of perception in the face of new media culture. I hope you enjoy this second issue of the second volume: 'invasion'. Ben King 'Invasion' Issue Editor Citation reference for this article MLA style: Ben King. "Editorial: 'Invasion'." M/C: A Journal of Media and Culture 2.2 (1999). [your date of access] <http://www.uq.edu.au/mc/9903/edit.php>. Chicago style: Ben King, "Editorial: 'Invasion'," M/C: A Journal of Media and Culture 2, no. 2 (1999), <http://www.uq.edu.au/mc/9903/edit.php> ([your date of access]). APA style: Ben King. (1999) Editorial: 'invasion'. M/C: A Journal of Media and Culture 2(2). <http://www.uq.edu.au/mc/9903/edit.php> ([your date of access]).