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Journal articles on the topic 'Time and contemporaneity'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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1

Allen, Giancarlo. "ConstructiveAlps. Contemporaneità, sostenibilità, regionalità / ConstructiveAlps. Contemporaneity, sustainability, regionality." Regionalità e produzione architettonica contemporanea nelle Alpi, no. 1 ns, november 2018 (November 15, 2018): 194–201. http://dx.doi.org/10.30682/aa1801u.

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ConstructiveAlps, an award that takes on the thought of Mies Van der Rohe who says «True architecture is always objective and is the expression of the inner structure of our time»; not therefore an Alpine Architecture award but an award for sustainable architecture in the Alps that recognizes the responsibility of Architecture in the effects of climate change. So “constructive” means useful, effective, concrete. 1300 architectures in 4 editions judged by holistic criteria considering energy efficiency, appropriate technologies, use of local and coherent materials, embodied energy, life cycles,
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Kereszty, Roch. "Contemporaneity: The Mystery of Liturgical Time." Nova et vetera 18, no. 2 (2020): 505–19. http://dx.doi.org/10.1353/nov.2020.0033.

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3

Pouillaude, Frédéric. "Scène and Contemporaneity." TDR/The Drama Review 51, no. 2 (2007): 124–35. http://dx.doi.org/10.1162/dram.2007.51.2.124.

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This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldman's considerations of how improvisation offers “escape routes”—for and from dance, theory, and time.
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4

Yarrow, Thomas. "Archaeology, anthropology and the stuff of time." Archaeological Dialogues 22, no. 1 (2015): 31–36. http://dx.doi.org/10.1017/s1380203815000070.

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Lucas's discussion of contemporaneity makes an important contribution to archaeological understandings of chronology and dating and to broader debates about temporality. Extending his earlier work on time (Buchli and Lucas 2001; Lucas 2001; 2005), Lucas's central insight is that contemporaneity is not a function of a shared unit of time but of the specific relations through which objects are imbricated. The approach is likely to have profound implications for archaeological approaches to chronology. Whether or not it undermines the current preoccupation with absolute dating, it should certainl
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Sukhova, Natalia, Lera Yurkina, Vladimir Leonov, and Sergey Greshnikov. "Pedology: history and contemporaneity." E3S Web of Conferences 210 (2020): 04011. http://dx.doi.org/10.1051/e3sconf/202021004011.

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This article is a study devoted to the scientific direction that existed in the 30-40-s in the system of general pedagogy - pedology. The article examines the origins of interest in the scientific and comprehensive study of childhood, the history of the emergence and development of pedology abroad and in Russia. In this study, the emergence of pedology in Russia is interpreted by the authors as a response to the growing interest of social and humanitarian knowledge in the personality of the child and the spread of the ideas of humanism that came to Russia from the West. However, due to the pre
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6

Corbel, Laurence. "Turning Back Time: the Living Contemporaneity of Avant-gardes." Critique d’art, no. 49 (November 21, 2017): 135–39. http://dx.doi.org/10.4000/critiquedart.27206.

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Yilmaz, Irem, and Adnan Aksu. "Contemporaneity - A Common Space-Time-Data for Architectural Creation." IOP Conference Series: Materials Science and Engineering 471 (February 23, 2019): 072033. http://dx.doi.org/10.1088/1757-899x/471/7/072033.

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8

Disney, Dan. "every time a colleague mentions spontaneous." CounterText 6, no. 3 (2020): 468–71. http://dx.doi.org/10.3366/count.2020.0206.

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Extracted from a longer poem in progress provisionally called twentytwenties, ‘every time a colleague mentions spontaneous’ is a formally inventive work that is also allusive and sharply biting about various aspects of contemporaneity (among them, ‘Reality Apathy’, ‘Digital Evangelism’, ‘the Virus’, ‘the Ends of History’) and of present sensibilities.
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Akimova, A. "Almazovo Estate: History and Contemporaneity." Voprosy kul'turologii (Issues of Cultural Studies), no. 4 (April 1, 2020): 55–60. http://dx.doi.org/10.33920/nik-01-2004-06.

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The paper is based on the analysis of Russian, Inglish and Italian sources and represents the reception of the Demidov’s estate Almazovo by our contemporaries. The electronic resources about the estate containing legends, fictions and often unreliable information are analyzed for the first time. The estate of the Moscow Region and especially its park preserved now attracts the attention of Russian and foreign travelers. However, nobody managed to discover the mystery of this ‘mysterious ensemble of the Moscow Region estate of the Ural mine owners Demidov’ (L.A. Perfilyeva). According to the re
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Kintigh, Keith W. "Contending with Contemporaneity in Settlement-Pattern Studies." American Antiquity 59, no. 1 (1994): 143–48. http://dx.doi.org/10.2307/3085507.

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Settlement-pattern studies are plagued by the problem of analyzing site distribution maps for time periods during which not all sites are contemporaneous. In a key insight, Dewar (1991) used counts of sites occupied at the beginning and end of a period to estimate, through simulation, the number of simultaneously occupied sites. While Dewar's treatment is an important contribution, drawbacks to his method are identified and remedies proposed. First, an equation that obviates the need for the simulation is provided. It is then shown that Dewar's method fails to take into account those sites tha
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11

Lund, Jacob. ""An enemy of our times": Godard's aesthetics of contemporaneity as opposition to synchronization." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 231–49. http://dx.doi.org/10.5937/saj1502231l.

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Towards the end of his film essay Histoire(s) du cinéma Jean-Luc Godard calls himself an "enemy of our times", of "the totalitarianism of the present as applied mechanically every day more oppressive on a planetary scale." The article regards Histoire(s) du cinéma (1988-1998) as "a thinking form" that tries to resist the synchronizing, standardizing time of global capital, the pervasive uniformity of the global super-present, brought about by today's televisual and digital communications, which threatens to trivialise the different processes of memory and history, and art and culture in genera
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12

Marques, João Luís. "Modernity and contemporaneity in dialogue with the heritage." Actas de Arquitectura Religiosa Contemporánea 7 (October 1, 2020): 158–69. http://dx.doi.org/10.17979/aarc.2020.7.0.6318.

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Since the 1960s, the artistic and architectural interventions carried out in the church of Santa Isabel and Rato Chapel, in Lisbon, brought to the debate the overlap of different narratives in these two different spaces of worship: the first, is a parish church preserved by the earthquake of Lisbon (1755), which had its liturgical space redesigned before the Second Vatican Council; the second, is a private chapel annexed to a 18th century palace that became a symbolic worship space for students and engaged young professionals since the 1970s. Enriched with the work of either well-known artists
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13

Donnelly, Jennifer. "Mirror of Time: Temporality and Contemporaneity in the work of Jorge Luis Borges." Contemporaneity: Historical Presence in Visual Culture 2 (July 11, 2012): 75–87. http://dx.doi.org/10.5195/contemp.2012.38.

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Borges recognized the cracking facade of modernity and the fragility of its monist absolutisms, its commitment to linearity, and its faith in historical progress. By disavowing the ability of time to be contained within any collective structure of representation, Borges both refutes modernist conceptions of time and offers insight into recent theories of contemporaneity. A contemporaneous reading of Borges opens lucid temporal relationships, challenges assumptions about the affinities between the self and time, allows for the existence of multiple temporal antimonies, and ultimately reveals th
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Ortega, Francisco A. "Precarious Time, Morality, and the Republic." Contributions to the History of Concepts 11, no. 2 (2016): 85–109. http://dx.doi.org/10.3167/choc.2016.110206.

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Spanish American countries exhibited during the nineteenth century many of the features Koselleck associated with the Sattelzeit, the transitioning period into our contemporaneity. However, the region’s history was marked by social instability and political upheaval, and contemporaries referred to such experiences of time as precarious. In this article I explore the connection between this precarious time and the emergence of the sociopolitical concept of morality in New Granada (present-day Colombia) during the first thirty- five years of the republic (1818–1853). I focus on two conceptual mo
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Bankauskaitė-Sereikienė, Gabija, and Eglė Keturakienė. "Eternal Contemporaneity in Advertisements of „Naujoji Romuva“ (1931–1940)." Respectus Philologicus 26, no. 31 (2014): 177–89. http://dx.doi.org/10.15388/respectus.2014.26.31.14.

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Advertising appealing to senses is satiated with the dream of immortality. The society striving for an eternal state of mythical youth lives in the reality of theatre and manipulations. On the one hand, advertising offers certain society life models through myth, archetypical symbols. On the other hand, culture of global observation, watching changes life into an illusion and life simulation. The more a person succumbs to abstractedness of life in advertisements, the greater demand for mythical time, eternal moment and harmony arises. Advertising which has categorically prohibited for a societ
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16

Bevernage, Berber. "Tales of pastness and contemporaneity: on the politics of time in history and anthropology*." Rethinking History 20, no. 3 (2016): 352–74. http://dx.doi.org/10.1080/13642529.2016.1192257.

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17

Karlsson, Håkan. "Existential contemporaneity. Or what we as archaeologists can learn from Archie Leach." Archaeological Dialogues 22, no. 1 (2015): 24–28. http://dx.doi.org/10.1017/s1380203815000057.

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From my point of view, discussions of the content of the concept of time are always welcome in archaeology since the archaeological discourse on this topic has for many years been anchored in a quite simplified and axiomatic chronological approach. Discussions of other aspects of, and approaches towards, the concept of time have – with few exceptions – been neglected. It is therefore with pleasure that I have been presented with the opportunity to comment briefly on Gavin Lucas's article ‘Archaeology and contemporaneity’, which approaches the concept of contemporaneity in and of the archaeolog
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Crossland, Zoë. "The knots of narrative. Contemporaneity and its relation to history." Archaeological Dialogues 22, no. 1 (2015): 15–20. http://dx.doi.org/10.1017/s1380203815000033.

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In this wonderfully rich and thought-provoking article, Gavin Lucas exhorts us to write about archaeology in the mode of the contemporary. This is to attend to the shifting interplay between past, present and future, undertaken through a focus on the relations between objects, in contrast to the impoverished concern with succession and order that a notion of chronological contemporaneity imposes. His paper undertakes the useful task of disentangling concepts around time and contemporaneity, and raises a number of interesting questions. Here, I would like to discuss two of the most compelling c
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19

Barkwill Love, Lori. "Rethinking “Village” at Mogollon Village (LA 11568): Formal Chronological Modeling of a Persistent Place." American Antiquity 86, no. 1 (2020): 153–72. http://dx.doi.org/10.1017/aaq.2020.38.

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In the U.S. Southwest, large pithouse sites are often referred to as “villages,” implying a continuous settlement of contemporary households. But determining pithouse contemporaneity at these sites is challenging, even when relying on radiocarbon dates. Using a Bayesian chronological framework, I examine the overall chronology and occupational histories of individual pithouses at Mogollon Village (LA 11568), a large pithouse site in western New Mexico. The results presented here suggest Mogollon Village occupation began at least by cal AD 5–130 and ended around cal AD 895–990. The modeled date
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20

Laügt, Élodie. "America in Time: Aphoristic Writing in Jean Baudrillard's America." Paragraph 35, no. 3 (2012): 338–54. http://dx.doi.org/10.3366/para.2012.0063.

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This article, focusing on America (1986), analyses the way in which Baudrillard uses aphoristic statements in order to propose a response, in the form of parody both of America and of its mediatization, to the proliferation of signs and loss of referentiality which characterize hyperreality. The text in question might be among the most controversial by its author due partly to its non-discursive style and the way in which it offers a punchy critique of America. It raises the question of legitimacy that the aphorism bears at its heart as a self-sufficient authoritative statement, as well as the
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21

Filipović, Andrija. "Zones of non-communication: Music and the relative immanence of capitalism." New Sound, no. 46 (2015): 70–82. http://dx.doi.org/10.5937/newso1545070f.

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The goal of this paper is to show not what music is, but what music as a sort of political practice can do in the age of contemporaneity. The age of contemporaneity is defined by the relative immanence of capitalism, which is structured as a society of control on the level of the socius. On the one hand, capitalism consists of a certain number of axioms that enable the denumeration of flows, while, on the other, the society of control forges a connection between the capitalist axiomatic and the infra-individual levels of every (in)dividual. In an ontological and epistemological framework struc
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22

Lysen, Flora. "What to do with the “Most Modern” Artworks? Erwin Panofsky and the Art History of Contemporary Art." Contemporaneity: Historical Presence in Visual Culture 3 (June 5, 2014): 38–49. http://dx.doi.org/10.5195/contemp.2014.81.

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In the 1930s, when the world-renowned Medieval and Renaissance art scholar Erwin Panofsky became acquainted with the New York contemporary art scene, he was challenged with the most difficult dilemma for art historians. How could Panofsky, who was firmly entrenched in the kunstwissenschaftliche study of art, use his historical methods for the scholarly research of contemporary art? Can art historians deal with the art objects of their own time? This urgent and still current question of how to think about “contemporaneity” in relation to art history is the main topic of this paper, which depart
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23

Jones, Andrew Meirion. "Assemblages, relationality and recursivity. Comments on ‘Archaeology and contemporaneity’ by Gavin Lucas." Archaeological Dialogues 22, no. 1 (2015): 21–24. http://dx.doi.org/10.1017/s1380203815000045.

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I warmly welcome Gavin Lucas's discussion of time and contemporaneity. I view this as another component of a sustained (and much-needed) investigation of the ontological character of archaeology. Gavin Lucas is presently at the forefront of this line of enquiry. His analysis is much more than an exploration of the ontology of archaeology. It is also a radical rethinking of the basis of the discipline. His analysis takes us back to ‘first principles’ and reveals unexpected and thought-provoking conclusions. Excitingly, his discussion touches upon the very basis of archaeological chronologies an
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24

Iovan, Marțian. "Analysis of the Connections Between Law and Morals, Between Customs and Contemporaneity." Journal of Legal Studies 25, no. 39 (2020): 57–68. http://dx.doi.org/10.2478/jles-2020-0004.

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AbstractThis paper analyses the concepts of three great Romanian thinkers –theoreticians and philosophers of law – on the relations between law, morals and manners in order to discover, based on their idea filiation in the juridical Romanian culture, the differences of method and contents between them, to identify the practical implication in the field of performing the justice and law-making. Being trained and positioned in the core of the European juridical culture of their time, they reviewed the relations between law and morals, in a rationalist and humanist way, substantiating the need fo
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Osiński, Dawid Maria. "Miejsce tradycji. Refleksja autobiograficzna Wilhelminy Zyndram­‑Kościałkowskiej." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 20 (December 20, 2020): 263–89. http://dx.doi.org/10.24917/20811853.20.16.

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The paper is an attempt at showing – through the prism of autobiographical reflection – the location of tradition, as understood by Wilhelmina Zyndram‑Kościałkowska (1844–1926), a translator, writer and literary critic. The notion of location is understood by the author as a particular, restricted, time‑spatial reservoir of meanings, perceived in a broader perspective, that is as a component of a larger whole. The location of tradition is a segment and stage concerning a problem residuum of meanings in culture and history, as well as in the history of thought, which has been located in the spa
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Whittall, Arnold. "The Theorist's Sense of History: Concepts of Contemporaneity in Composition and Analysis." Journal of the Royal Musical Association 112, no. 1 (1987): 1–20. http://dx.doi.org/10.1093/jrma/112.1.1.

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My title is as much a play on words, or even a choreographic flourish, as the statement of a thesis. After all, to say that theorists have, or should have, a sense of history is rather like saying that composers, singers or instrumentalists tend on the whole to be able to read music. Having a sense of history is not just a necessary preliminary to adequate professional attainment in all branches of musicology: it is what being a theorist, and an analyst, is all about. And that is just as true for the theorist as practitioner - as pedagogue promoting the perception of structures - as it is for
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27

Lepecki, André. "Choreography as Apparatus of Capture." TDR/The Drama Review 51, no. 2 (2007): 119–23. http://dx.doi.org/10.1162/dram.2007.51.2.119.

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This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldman's considerations of how improvisation offers “escape routes”—for and from dance, theory, and time.
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Caspão, Paula. "Stroboscopic Stutter: on the not-yet-captured ontological condition of limit-attractions." TDR/The Drama Review 51, no. 2 (2007): 136–56. http://dx.doi.org/10.1162/dram.2007.51.2.136.

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This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldman's considerations of how improvisation offers “escape routes”—for and from dance, theory, and time.
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Goldman, Danielle. "Deborah Hay's O, O." TDR/The Drama Review 51, no. 2 (2007): 157–70. http://dx.doi.org/10.1162/dram.2007.51.2.157.

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This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldman's considerations of how improvisation offers “escape routes”—for and from dance, theory, and time.
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Lucas, Gavin. "Contemporizing the contemporary." Archaeological Dialogues 22, no. 1 (2015): 36–44. http://dx.doi.org/10.1017/s1380203815000082.

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I would like to thank all my respondents for taking the time to read my paper and offer their critical and constructive feedback; in their varied responses, they have highlighted aspects which I had not considered, challenged me to elaborate on some of the less clear points I made and revealed ambiguities or even contradictions in how I have articulated the concept of contemporaneity. Rather than respond individually, I would like to try and answer what I see as the main points which collectively emerge from these comments.
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31

Tarkowska, Elżbieta. "Społeczeństwo różnych rytmów. Przypadek Polski na tle tendencji globalnych." Kultura i Społeczeństwo 60, no. 4 (2016): 29–41. http://dx.doi.org/10.35757/kis.2016.60.4.2.

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The author reflects on time in contemporary culture—on changes in the experience and perception of time, and also on how temporal categories are used in analyses of social and cultural issues. She points out (1) new phenomena connected with the temporal regulation of collective life, and (2) new divisions and social differentiations in which a major role is played by the time dimension. The distribution of time and the manner of valuing time is changing, as is free time. The disappearance of calendars and extension of the present is accompanied by an excess of activities and lack of time in th
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32

Neag, Mihai-Marcel, and Elisabeta-Emilia Halmaghi. "Correlation Between Human Development and Sustainable Development – Condition of Human Security." Scientific Bulletin 24, no. 1 (2019): 52–60. http://dx.doi.org/10.2478/bsaft-2019-0006.

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Abstract For the sake of contemporaneity, the notion of sustainable development has become the key concept in developing new paradigms of human survival, in designing new ways of managing social systems. The current state of today’s humanity is looking for a new development model as well as new security objectives. Considered as a process over time, human development means creating, through action at policy level, the conditions for facilitating sustainable human development, such as appropriate education, health, material wellbeing, participation, social empowerment and inclusion and establis
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GLAMANN, KRISTOF. "The linear time model in history." European Review 9, no. 1 (2001): 3–10. http://dx.doi.org/10.1017/s1062798701000011.

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Chronology has been called the backbone of history and it is true that the linear time model in the shape of a chronology is an indispensable tool always at hand in the historian's workshop. It furnishes him or her with the four parameters of sequence, duration, setting and frequency, all necessary and most useful in the deployment of the historian's material. The chronological concept of time also underlines the irreversibility of time, which is part of the historian's creed and an assumption that governs his or her ideas of causality. The influences emanating from the physical time-scale are
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Russi, Adriana, and Astrid Kieffer-Døssing. "Museums and indigenous memory: the Katxuyana’s collections and the contemporaneity of musealized material culture." Museum and Society 17, no. 3 (2019): 494–509. http://dx.doi.org/10.29311/mas.v17i3.2980.

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Currently, ethnographic collections are at the center of a debate about the new meaning of museum collections, which questions the actuality of the preserved material culture. These issues also refer to the promotion of otherness and protagonism of the ‘collected people’ in museums, which trigger the interest of both researchers and indigenous people. The same is happening with the collections of the Amerindian Katxuyana. These collections count more than 700 objects collected by different expeditions at different moments in time and the collections have been preserved for more than 50 years i
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Welker, Michael. "Barths »Tambacher Vortrag« und Bonhoeffers »tiefe Diesseitigkeit«. Bahnbrechende Impulse für Kirche und Gesellschaft noch heute." Evangelische Theologie 79, no. 4 (2019): 246–57. http://dx.doi.org/10.14315/evth-2019-790404.

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Abstract This paper examines two ingenious theological contributions by Karl Barth and Dietrich Bonhoeffer: the famous Tambach lecture by Barth, given 100 years ago, and the concept of the »deep worldliness« (tiefe Diesseitigkeit) of the Christian faith developed by Bonhoeffer in his prison letters. It shows why even today both contributions have orienting power for church and society in situations of radical transition and change. Both contributions derive their strength from the fact that they have a clear theological and at the same time realistic orientation, Christologically and implicitl
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Saar, Martin. "Philosophie in ihrer (und gegen ihre) Zeit." Deutsche Zeitschrift für Philosophie 67, no. 1 (2019): 1–22. http://dx.doi.org/10.1515/dzph-2019-0001.

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Abstract It is not evident in what sense philosophy relates to its own time and present. From the history of philosophical thought, several models have been suggested, ranging from a strong reliance on tradition to the wholesale rejection of the present and demand for a ‘philosophy of the future,’ from the suspicion that philosophy is nothing but one ideology among others to the demand that philosophy should engage in the struggles and conflicts of its time in order to prepare for a better future. The essay presents an assessment and problematization of these approaches and argues for a point
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Young, Allison K. ""We Never Did Return": Migration, Materiality and Time in Penny Siopis' Post-Apartheid Art." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 45–70. http://dx.doi.org/10.5195/contemp.2015.131.

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This article explores “migration” as both theme and operation in two works by the South African artist Penny Siopis, each created in the year 1997: the artist’s first film, My Lovely Day, and a related object installation entitled Reconnaissance (1900-1997). In each work, Siopis traces the course of her grandmother’s emigration from Europe to Africa through a variety of found, collected, or inherited components that bore witness to the longue durée of imperialism and Apartheid. Mediating between national, cultural, and familial narratives, these works are inherently archaeological in nature, a
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Llusà Serra, Joan. "Una investigación-acción sobre tiempo histórico." Revista de Historia y Geografía, no. 35 (March 19, 2017): 103. http://dx.doi.org/10.29344/07194145.35.347.

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Este artículo se divide en cuatro apartados. En primer lugar, encontramos la introducción, donde se justifica la importancia de aplicar de forma sistemática al proceso de enseñanza y aprendizaje de la historia el concepto temporal de la contemporaneidad. En segundo lugar, se describe el proceso de investigación desarrollado, incluyendo modelo, metodología, instrumentos y contexto. Se trata de un modelo de investigación-acción de didáctica de la historia que, como estudio de caso, pretende dar respuesta al problema de la comprensión del tiempo histórico por parte de mi propio alumnado. En terce
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Grzesiak, Emilia. "Prioritization STEM education. An axiological and teleological perspective." Studia z Teorii Wychowania X, no. 4 (29) (2019): 167–84. http://dx.doi.org/10.5604/01.3001.0014.1080.

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Contemporaneity is a time of constant changes, heterogeneous needs and growing commitments and aspirations. Transformations do not miss the educational system, which adapts to current needs, objectives and adopted social strategies. This article undertake the subject of education in the fields of STEM. Areas from this group constitute attractive development directions - important from the point of view of the changing conditions of modern reality and potential chances for achieving stable and valuable work in the future. It presents the goals and the importance of STEM education in the context
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Tankersley, Kenneth B., Michael R. Waters, and Thomas W. Stafford. "Clovis and the American Mastodon at Big Bone Lick, Kentucky." American Antiquity 74, no. 3 (2009): 558–67. http://dx.doi.org/10.1017/s0002731600048757.

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Contemporaneity of people and the American mastodon (Mammut americanum) at Big Bone Lick, Kentucky, has been extensively debated for more than two hundred years. Newly interpreted stratigraphic excavations and direct AMS ¹⁴C measurements on mastodon bones from Big Bone Lick, Kentucky, indicate that the megafauna are a palimpsest of fossils spanning at least 1,200 calendar years (11,020 ± 30 to 12,210 ± 35 RC yr B.P.). The radiocarbon evidence indicates that mastodons and Clovis people overlapped in time; however, other than one fossil with a possible cut mark and Clovis artifacts that are phys
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Kieling, Camila Garcia. "How do you spell “freedom”? Narratives about the 25 April 1974 Revolution in the Brazilian press." Comunicação e Sociedade 34 (December 17, 2018): 367–88. http://dx.doi.org/10.17231/comsoc.34(2018).2954.

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This paper proposes a recomposition of the intrigue of journalistic narratives on the Revolution of April 25, 1974 in Portugal based on the coverage of two Brazilian newspapers: O Estado de S. Paulo and Jornal do Brasil. The journalistic narrative is understood as a time orderer in the contemporaneity, expressing a “generalized circulation of historical perception” (Nora, 1979, p. 180), mobilized by the emergence of a new phenomenon: the event. The unusual coup d’état in Portugal stirred the world’s political imagination, reviving confrontations between left and right. At that moment, in Brazi
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Borodovskiy, Andriey P., Marek Krąpiec, and Łukasz Oleszczak. "Radiocarbon Dating of Barrows of the Pazyryk, Karakoba, and Bystrianka Cultures from the Manzherok Region, Russia." Radiocarbon 59, no. 5 (2017): 1263–74. http://dx.doi.org/10.1017/rdc.2017.41.

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AbstractThis paper presents radiocarbon (14C) dating of Scythian period sites discovered in Northern Altai, Russia, in the 1990s, including large, unlooted barrow cemeteries in the Manzherok region. The results indicate that barrows attributed to the Karakoba culture may represent a long time span from the beginning of the 9th century BC until the beginning of 1st century BC, while those linked with the North Pazyryk culture generally keep within the Scythian period: from the beginning of the 5th century BC to the late 1st century AD. 14C analysis has confirmed the viability of traditional arc
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Osborne, Peter. "Out of Sync: Tomba’s Marx and the Problem of a Multi-layered Temporal Dialectic." Historical Materialism 23, no. 4 (2015): 39–48. http://dx.doi.org/10.1163/1569206x-12341435.

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This piece reconstructs and reflects upon the terms of the theoretical projection underlying Max Tomba’s book,Marx’s Temporalities, with particular reference to his use of the concepts of multiple temporalities (Ernst Bloch) and temporal layers (Bloch and Reinhart Koselleck). Tomba’s use of these concepts, it is argued, productively relocates Marx’s writings within the framework of the twentieth-century philosophy of time. However, Tomba’s dependence upon received versions of these concepts, untransformed, reproduces theoretical problems implicit within them, which have been intensified by rec
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Izzo, Luca. "Innovative methods of the representation: in painting, in sculpture and in cinematographic direction." Resourceedings 2, no. 3 (2019): 71. http://dx.doi.org/10.21625/resourceedings.v2i3.628.

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The object of study is a search for the strategies of representation of the four dimensions, three spatial and one temporal, when these dimensions become particular “media-conceptual”, creating “space-time” experiments, sometimes sacred and sometimes profane. The research recognizes cases in which the four dimensions have been realized with innovative methodologies, different from the traditional geometric-perspective methodologies. The research analyzes the transformation of “sacred space” into “profane space” in Gustave Courbet's painting, then the “sacred space-time” dimension in Michelange
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Mizerkiewicz, Tomasz. "Niewspółczesność. O możliwej historii literatury polskiej po 1989 roku." Wielogłos, no. 1 (43) (2020): 23–36. http://dx.doi.org/10.4467/2084395xwi.20.003.12151.

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Noncontemporaneity. On the Possible History of Polish Literature after 1989 Temporal and historical frames usually applied to the description of recent Polish literature gradually lose their potential. “Postmodernism,” “late modernism,” and other terms do not reveal the complicated and local temporal landscape of this literature. Processes like the traumatic return of past events (WWII, the Holocaust, Stalinist terror), the simultaneous activity of Polish language writers in countries around the world, immigrant writings, etc., preclude the use of the term “contemporaneity,” since they do not
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Jovanović, Smiljka. "Metamodernism and the Coronavirus (COVID-19) Pandemic." INSAM Journal of Contemporary Music, Art and Technology, no. 6 (July 15, 2021): 57–74. http://dx.doi.org/10.51191/issn.2637-1898.2021.4.6.57.

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Metamodernism is understood as the dominant cultural logic of the 21st century. Metamodernism’s breadth and complexity, as well as its theory’s advocacy for contemporaneity, invite for consideration whether the notion could address the most recent global events and the crises after 2020. Therefore, this study designates and explains the five key concepts of metamodernism – metaxy, abstraction, reconstruction, historicity, and a structure of feeling – and uses them to discuss the current state of affairs, the coronavirus (Covid-19) pandemic. The study evaluates the interpretative and discursive
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Maitra, Sritama, and Sangeeta Mukherjee. "INDIAN DECENTRINGS OF MACBETH: POSTMODERN CREATIVITY IN FILMIC ADAPTATIONS BY VISHAL BHARDWAJ AND JAYARAJ." Creativity Studies 13, no. 2 (2020): 585–99. http://dx.doi.org/10.3846/cs.2020.12787.

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The never-ending contemporaneity of William Shakespeare’s Macbeth is established by the experimental adaptations of the play that have transcended time and space. The filmic adaptations, in particular, have recontextualized the original dramatic text in several innovative ways. This paper sets out to analyse from certain postmodern angles the creative and innovative adaptation of a classic literary text from a Scottish setting to two completely different Indian settings (geographically, culturally and politically) and also from 16th century Scotland, United Kingdom to two different time period
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Kuzmina, Lydia V. "“New Drama” in the Context of the Historical Film." Journal of Flm Arts and Film Studies 10, no. 2 (2018): 142–51. http://dx.doi.org/10.17816/vgik102142-151.

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The article is devoted to the cultural phenomenon of the "new drama", which since its the beginning of the 2000s up to present day has a significant impact on the Russian cinema. The authors of the trend, first of all, are close to the theme of contemporaneity. However, while seeking for a holistic, philosophical understanding of time, they turn to the past. One of the most important historical films that appeared in the circle of the "new drama" were the TV-series The Diary of the Murderer (2002) by Kirill Serebrennikov, staged according to the scenario of the famous playwrights of the post -
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Kahn, Jennifer G. "Society Islands (Central Eastern Polynesia) Chronology: 11 Radiocarbon Dates for the Late Prehistoric Expansion and Proto-Historic Periods in the ‘Opunohu Valley, Mo'Orea." Radiocarbon 48, no. 3 (2006): 409–19. http://dx.doi.org/10.1017/s0033822200038844.

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The chronology of residential site construction and occupation in the upper reaches of the ‘Opunohu Valley, Mo'orea, Central Eastern Polynesia, has been debated over the last 15 yr. This paper reports a suite of 11 radiocarbon age determinations from excavations at 5 house sites and a simple temple structure (marae). Direct accelerator mass spectrometry (AMS) dating of wood charcoal identified to short-lived taxa confirms site construction and occupation during the mid-15th to 17th centuries, supporting that maximal population density was in the centuries immediately prior to European contact.
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Hernández Navarro, Miguel Ángel. "Timespace for Emotions: Anachronism in Flaubert, Bal/Williams Gamaker, Munch and Knausgård." Text Matters, no. 7 (October 16, 2017): 98–113. http://dx.doi.org/10.1515/texmat-2017-0006.

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Quoting Flaubert through time, Mieke Bal and Michelle Williams Gamaker’s Madame B brings Madame Bovary’s reflections on love and emotions to the present day, in a productive anachronism. Their work produces an intertemporal space where the past is relevant for the present, and the present enables us to understand the past. Intimacy and routine are central in their exploration of Flaubert’s contemporaneity. Those issues are precisely one of the keys in Karl Ove Knausgård’s project of literary autobiography, where he expands narration foreclosing the ellipsis and giving visibility to small thing
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