The study highlights the development of the genre of church carols in the work of Ukrainian priests as a component of the spiritual song culture of the 17th – 19th centuries with a possible specification of their authors. A review of the scientific works of Ukrainian and foreign scientists was carried out, in which the question of the existence of church carols at various stages of their development was investigated. The works of Ivan Franko, Mykhailo Wozniak, Hans Rohte, Larysa Hnatiuk, Lidia Korniy, Larysa Kostiukovets, Yuriy Medvedyk and others were analysed. In the process of research, it was found out that the first sources where the use of church carols was noticed were: school drama, live and puppet verteps (nativity scenes). The authors of the first Christmas dramas that have survived to this day were Pamvo Berynda, Dmytro Tuptalo (Rostovskyi), Yepifanii Dovgalevskyi and a number of authors unknown to modern science. They were probably the authors of church carols used in dramas. The result of the creation of church carols was the first printed collection of Ukrainian spiritual songs “Bogoglasnyk”, published in Pochaiv in 1773, later a more complete edition, an anthology collection of Ukrainian spiritual songs “Bogoglasnyk”, was made, and published in Pochaiv in 1790-1791. There were published 24 Ukrainian and 5 Polish carols in it among 240 spiritual songs. The probable names of the authors of several Ukrainian carols are mentioned. The research indicates that the process of creating church carols intensified in the 19th century. Their authors were Greek-Catholic priests Viktor Matiuk, Maksym Kopko, Ostap Nyzhankivskyi, Yosyp Kyshakevych and others. In addition to pastoral activities, they were also engaged in composing, were the authors of Holy Liturgies, spiritual songs, including church carols. The most famous carols were “Na Nebi Yasna Zirka Zasiala” (“A Bright Star Shone in the Sky”) by Viktor Matiuk, “Vselennaya Veselysia” (“Rejoice the Universe”), “Na Rozhdestvo Khrysta” (“On the Birth of Christ”), “Vistku Holosyt’ Svitu Zirnytsia” (“A Starling Announces the News to the World”) by Maksym Kopko, “U Vyfleyemi Nyni Novyna” (“News in Bethlehem Today”) by O. Nyzhankivskyi, “Nad Vyfleyemom Zablysla Zoria” (“A Star Twinkled Over Bethlehem”, “Slava Vo Vyshnykh Bogu” (“The Highest Glory to God”), “Spy, Isuse, Spy” (“Sleep, Jesus, Sleep”) by Yosyp Kyshakevych. The periodization of the development of the genre of church carols in the works of Ukrainian priests of the 17th-19th centuries was carried out. The first period is called the “manuscript” one (the end of the 16th century – 1773), and is associated with the first recording of Christmas songs without specifying the names of the songs and their authors. The second period is the “edition period” (1773 – the beginning of the 19th century) is associated with the appearance of the first collection of Ukrainian spiritual songs, published in Pochaiv in 1773, the beginning of the tradition
{"title":"Ukrainian priests as creators of church carols in the 17th – 19th centuries.","authors":"Oleg Smoliak, Liliia Bobyk, Liudmyla Shchur, Anatoliy Bankovskyi","doi":"10.3384/cu.4806","DOIUrl":"https://doi.org/10.3384/cu.4806","url":null,"abstract":"The study highlights the development of the genre of church carols in the work of Ukrainian priests as a component of the spiritual song culture of the 17th – 19th centuries with a possible specification of their authors. A review of the scientific works of Ukrainian and foreign scientists was carried out, in which the question of the existence of church carols at various stages of their development was investigated. The works of Ivan Franko, Mykhailo Wozniak, Hans Rohte, Larysa Hnatiuk, Lidia Korniy, Larysa Kostiukovets, Yuriy Medvedyk and others were analysed. \u0000In the process of research, it was found out that the first sources where the use of church carols was noticed were: school drama, live and puppet verteps (nativity scenes). The authors of the first Christmas dramas that have survived to this day were Pamvo Berynda, Dmytro Tuptalo (Rostovskyi), Yepifanii Dovgalevskyi and a number of authors unknown to modern science. They were probably the authors of church carols used in dramas. The result of the creation of church carols was the first printed collection of Ukrainian spiritual songs “Bogoglasnyk”, published in Pochaiv in 1773, later a more complete edition, an anthology collection of Ukrainian spiritual songs “Bogoglasnyk”, was made, and published in Pochaiv in 1790-1791. There were published 24 Ukrainian and 5 Polish carols in it among 240 spiritual songs. The probable names of the authors of several Ukrainian carols are mentioned. \u0000The research indicates that the process of creating church carols intensified in the 19th century. Their authors were Greek-Catholic priests Viktor Matiuk, Maksym Kopko, Ostap Nyzhankivskyi, Yosyp Kyshakevych and others. In addition to pastoral activities, they were also engaged in composing, were the authors of Holy Liturgies, spiritual songs, including church carols. The most famous carols were “Na Nebi Yasna Zirka Zasiala” (“A Bright Star Shone in the Sky”) by Viktor Matiuk, “Vselennaya Veselysia” (“Rejoice the Universe”), “Na Rozhdestvo Khrysta” (“On the Birth of Christ”), “Vistku Holosyt’ Svitu Zirnytsia” (“A Starling Announces the News to the World”) by Maksym Kopko, “U Vyfleyemi Nyni Novyna” (“News in Bethlehem Today”) by O. Nyzhankivskyi, “Nad Vyfleyemom Zablysla Zoria” (“A Star Twinkled Over Bethlehem”, “Slava Vo Vyshnykh Bogu” (“The Highest Glory to God”), “Spy, Isuse, Spy” (“Sleep, Jesus, Sleep”) by Yosyp Kyshakevych. \u0000The periodization of the development of the genre of church carols in the works of Ukrainian priests of the 17th-19th centuries was carried out. The first period is called the “manuscript” one (the end of the 16th century – 1773), and is associated with the first recording of Christmas songs without specifying the names of the songs and their authors. The second period is the “edition period” (1773 – the beginning of the 19th century) is associated with the appearance of the first collection of Ukrainian spiritual songs, published in Pochaiv in 1773, the beginning of the tradition ","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":" 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141675047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How does asking loved ones to help you die, to help you commit suicide, bend the limits of our relationships and perhaps of care itself? This paper traces the aesthetic and affective considerations of those deciding to die resist against depersonalizing experiences of medical care. Focusing on ethnographic interviews with members of the British right-to die group My Death My Decision, I explore how individuals recruit loved ones and doctors to actively participate in their death through “assistance”. This paper will specifically focus on what this assistance looks, or perhaps more accurately, feels like. It will question if the desire for an assisted death in which bodies, actions, and decisions touch and are touched by one another is a demand which exceeds the boundaries of “care”. My Death My Decision is campaigning to legalize assisted suicide based on a belief that the individual knows when it’s their time to die, regardless of a terminal diagnosis. One member, Pat, has decided that when the time comes, she will travel from London to a euthanasia center in Switzerland where, surrounded by loved ones, she can receive a “kind death” from doctors that care. Unlike colloquial uses of care, here, Pat references a relationship which is not defined by medical interventions to elongate life. This paper argues that presence and touch – both physical and emotional – can produce communal practices and ethics of care which challenge traditional expectations of biomedicine.
{"title":"Assisted Dying as Intimate Care","authors":"Miranda Tuckett","doi":"10.3384/cu.4148","DOIUrl":"https://doi.org/10.3384/cu.4148","url":null,"abstract":"How does asking loved ones to help you die, to help you commit suicide, bend the limits of our relationships and perhaps of care itself? This paper traces the aesthetic and affective considerations of those deciding to die resist against depersonalizing experiences of medical care. Focusing on ethnographic interviews with members of the British right-to die group My Death My Decision, I explore how individuals recruit loved ones and doctors to actively participate in their death through “assistance”. This paper will specifically focus on what this assistance looks, or perhaps more accurately, feels like. It will question if the desire for an assisted death in which bodies, actions, and decisions touch and are touched by one another is a demand which exceeds the boundaries of “care”. My Death My Decision is campaigning to legalize assisted suicide based on a belief that the individual knows when it’s their time to die, regardless of a terminal diagnosis. One member, Pat, has decided that when the time comes, she will travel from London to a euthanasia center in Switzerland where, surrounded by loved ones, she can receive a “kind death” from doctors that care. Unlike colloquial uses of care, here, Pat references a relationship which is not defined by medical interventions to elongate life. This paper argues that presence and touch – both physical and emotional – can produce communal practices and ethics of care which challenge traditional expectations of biomedicine.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"14 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141682448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rural places and small towns are highly valued by lifestyle migrants who wish to live close to nature (Verdich 2010) and have a more environmentally friendly lifestyle. Ängsbacka is a course center and a community for alternative lifestyles, located on the outskirts of a small town in mid-Sweden. The center emphasizes community and belonging, while also being a place characterized by cosmopolitan taste patterns and constant mobility, which can be described as a cocoon community (following Korpela and Dervin 2013). The members of the cocoon community use social media platforms such as Instagram to make place for themselves, to communicate belonging. Through images, hashtags and captions, they make connections between various places, people, activities and emotions that together contribute to the user’s spatial self (Schwartz and Halegoua 2015) and to the place making efforts of the community. Those using the hashtag ängsbacka often do so to communicate a deep connection between the place and themselves. At the same time, while the local place and nature is at the center of their activities, it is simultaneously a mere backdrop for their projects of personal development. Using Ängsbacka as a case, the article adds to research about digital place making beyond cities, by examining how the local place is given meaning within a community defined by privileged mobility. To analyze the intermingling of the local and the global in the context of sustainability, I combine theories of place making with Carfagna et al’s (2014) concept of ecological habitus. I argue that discourses on sustainability and harmony with nature can create a connection and sense of belonging that combines the (hyper)local with global (alternative) lifestyles.
{"title":"#Nowhereland","authors":"Emil Ljungberg","doi":"10.3384/cu.4288","DOIUrl":"https://doi.org/10.3384/cu.4288","url":null,"abstract":"Rural places and small towns are highly valued by lifestyle migrants who wish to live close to nature (Verdich 2010) and have a more environmentally friendly lifestyle. Ängsbacka is a course center and a community for alternative lifestyles, located on the outskirts of a small town in mid-Sweden. The center emphasizes community and belonging, while also being a place characterized by cosmopolitan taste patterns and constant mobility, which can be described as a cocoon community (following Korpela and Dervin 2013). \u0000The members of the cocoon community use social media platforms such as Instagram to make place for themselves, to communicate belonging. Through images, hashtags and captions, they make connections between various places, people, activities and emotions that together contribute to the user’s spatial self (Schwartz and Halegoua 2015) and to the place making efforts of the community. Those using the hashtag ängsbacka often do so to communicate a deep connection between the place and themselves. At the same time, while the local place and nature is at the center of their activities, it is simultaneously a mere backdrop for their projects of personal development. \u0000Using Ängsbacka as a case, the article adds to research about digital place making beyond cities, by examining how the local place is given meaning within a community defined by privileged mobility. To analyze the intermingling of the local and the global in the context of sustainability, I combine theories of place making with Carfagna et al’s (2014) concept of ecological habitus. I argue that discourses on sustainability and harmony with nature can create a connection and sense of belonging that combines the (hyper)local with global (alternative) lifestyles.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"120 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140237857","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Celebrations of local volunteering as a way to cope with cutbacks are frequent. Not least are such celebrations apparent within the media, where descriptions of local initiatives are sometimes seen as the solutions to downward spiralling trends in Swedish rural areas. The paper explores the media production of meaning around rural resilience as they covered initiatives where rural populations mobilised to ‘save’ threatened local service for their supposed public interest. Using the concepts of ‘patchy resilience’ and ‘cruel optimism’, the paper points at how the representations attach rural areas and identities to a stereotypical rural imagery while also representing a resilience ideal that risks glorifying neoliberal responsibilisation.
{"title":"“County residents take the fight”","authors":"Anna Sofia Lundgren, Karin Ljuslinder","doi":"10.3384/cu.4285","DOIUrl":"https://doi.org/10.3384/cu.4285","url":null,"abstract":"Celebrations of local volunteering as a way to cope with cutbacks are frequent. Not least are such celebrations apparent within the media, where descriptions of local initiatives are sometimes seen as the solutions to downward spiralling trends in Swedish rural areas. The paper explores the media production of meaning around rural resilience as they covered initiatives where rural populations mobilised to ‘save’ threatened local service for their supposed public interest. Using the concepts of ‘patchy resilience’ and ‘cruel optimism’, the paper points at how the representations attach rural areas and identities to a stereotypical rural imagery while also representing a resilience ideal that risks glorifying neoliberal responsibilisation.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"11 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140241068","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cornelia Brantner, Joan Ramon Rodríguez-Amat, Judith Stewart
This study explores the visual representation of Great Yarmouth, a British coastal town caught between the urban and the rural, as seen through the quasi-monopolistic image search engine Google Images. The research examines levels of pluralistic or biased place representations to consider how rankings employed by Google Images algorithms represent Great Yarmouth’s identity. The study adopts a visual culture perspective that recognises the role of images in place making and combines digital methods with an image type analysis to investigate how online representations reflect and create the town’s identities. The data shows that Google Images’ preference for representing Yarmouth as a sunny seaside town indicates that the search engine prioritises marketable assets above its connections with its hinterland, its diversity of people, and the cultural activities it has to offer. This, the authors state, is a place far away from Tuan’s (1979) idea of a place that is given meaning and identity from the perspective of people. Instead, Google Images’ representations of Great Yarmouth are an example of a created form of place making as commodification. The article concludes that the inscribed bias and unbalanced search priority criteria employed by the search engine impact upon the diversity of the semi-peripheral town.
{"title":"Gauging the Google gaze","authors":"Cornelia Brantner, Joan Ramon Rodríguez-Amat, Judith Stewart","doi":"10.3384/cu.4303","DOIUrl":"https://doi.org/10.3384/cu.4303","url":null,"abstract":"This study explores the visual representation of Great Yarmouth, a British coastal town caught between the urban and the rural, as seen through the quasi-monopolistic image search engine Google Images. The research examines levels of pluralistic or biased place representations to consider how rankings employed by Google Images algorithms represent Great Yarmouth’s identity. The study adopts a visual culture perspective that recognises the role of images in place making and combines digital methods with an image type analysis to investigate how online representations reflect and create the town’s identities. The data shows that Google Images’ preference for representing Yarmouth as a sunny seaside town indicates that the search engine prioritises marketable assets above its connections with its hinterland, its diversity of people, and the cultural activities it has to offer. This, the authors state, is a place far away from Tuan’s (1979) idea of a place that is given meaning and identity from the perspective of people. Instead, Google Images’ representations of Great Yarmouth are an example of a created form of place making as commodification. The article concludes that the inscribed bias and unbalanced search priority criteria employed by the search engine impact upon the diversity of the semi-peripheral town.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"65 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140237389","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Northern Norrland has a long history of domestic colonialism and internal migration. However, in the latter half of the twentieth century the region has seen a decline in population, job opportunities and welfare services. This study analyses how contemporary popular music from the region represents it and reflects feelings and thoughts on life there, and how identity, moods and sentiments are constructed and attached to place to uncover the rhetoric of place-making in popular music. The analysis shows a complex relationship between the local area and the surrounding country, featuring themes of ambivalence, resistance, dualistic nostalgia and transience responding to contemporary realities of the region. The lyrical themes and rhetorical actions performed in twenty-first century popular music evinces clear connections to literary depictions of the region throughout the last hundred years, indicating a reinterpretation of cultural memory in light of present conditions. These lyrics perform a rhetoric of re-membering which serves to reinforce the bond of people to place through music.
{"title":"There’s a Hinterland in Me","authors":"Tommy Bruhn","doi":"10.3384/cu.4289","DOIUrl":"https://doi.org/10.3384/cu.4289","url":null,"abstract":"Northern Norrland has a long history of domestic colonialism and internal migration. However, in the latter half of the twentieth century the region has seen a decline in population, job opportunities and welfare services. This study analyses how contemporary popular music from the region represents it and reflects feelings and thoughts on life there, and how identity, moods and sentiments are constructed and attached to place to uncover the rhetoric of place-making in popular music. The analysis shows a complex relationship between the local area and the surrounding country, featuring themes of ambivalence, resistance, dualistic nostalgia and transience responding to contemporary realities of the region. The lyrical themes and rhetorical actions performed in twenty-first century popular music evinces clear connections to literary depictions of the region throughout the last hundred years, indicating a reinterpretation of cultural memory in light of present conditions. These lyrics perform a rhetoric of re-membering which serves to reinforce the bond of people to place through music.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"64 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140237394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rural locations often form a hinterland – geographically and culturally - for large conurbations that dominate a particular region. They are interconnected, sometimes interdependent, but also separated by the social and spatial perceptions of a place. For urban dwellers the hinterland is a place to ‘escape to the country’; for rural dwellers the town is the place of ‘bright lights’. The norms of either location often sit juxtaposed. This sense of place may be constructed from traditional, stereotypical ways of seeing and understanding communities. Digital technology has provided a platform to challenge these norms and provide new ways of representing the physical and cultural landscape of urban and rural spaces. In this conceptual paper we explore digital placemaking in the hinterland of the North-East of Scotland. In this region, the city (Aberdeen) dominates, but it is the rural hinterland that charms. Through an examination of co-created content of rural spaces in this region we consider the role of participatory digital placemaking. Drawing on an extensive body of previous research that has explored community heritage in the North-East of Scotland, we use case studies to consider the ways in which images, iconography and language shape and inform perceptions of the rural space in the digital environment. We argue that this bottom-up approach to placemaking in rural areas can help to shape the way that places are seen, understood, and valued by communities, visitors and wider online audiences. To conclude, this paper reflects on how rural participatory digital placemaking counteracts the urban norm and connects communities across town and country through a reimagined digital hinterland.
{"title":"Reimagining the Rural Hinterland: an investigation of participatory digital placemaking in rural communities","authors":"Rachael Ironside, Peter H. Reid","doi":"10.3384/cu.4287","DOIUrl":"https://doi.org/10.3384/cu.4287","url":null,"abstract":"Rural locations often form a hinterland – geographically and culturally - for large conurbations that dominate a particular region. They are interconnected, sometimes interdependent, but also separated by the social and spatial perceptions of a place. For urban dwellers the hinterland is a place to ‘escape to the country’; for rural dwellers the town is the place of ‘bright lights’. The norms of either location often sit juxtaposed. This sense of place may be constructed from traditional, stereotypical ways of seeing and understanding communities. Digital technology has provided a platform to challenge these norms and provide new ways of representing the physical and cultural landscape of urban and rural spaces. In this conceptual paper we explore digital placemaking in the hinterland of the North-East of Scotland. In this region, the city (Aberdeen) dominates, but it is the rural hinterland that charms. Through an examination of co-created content of rural spaces in this region we consider the role of participatory digital placemaking. Drawing on an extensive body of previous research that has explored community heritage in the North-East of Scotland, we use case studies to consider the ways in which images, iconography and language shape and inform perceptions of the rural space in the digital environment. We argue that this bottom-up approach to placemaking in rural areas can help to shape the way that places are seen, understood, and valued by communities, visitors and wider online audiences. To conclude, this paper reflects on how rural participatory digital placemaking counteracts the urban norm and connects communities across town and country through a reimagined digital hinterland.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"63 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140238212","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At the heart of this article is the presence of Indigenous children in photographs of explorative travels taken by Dutch Missionaries of the Sacred Heart of Jesus in Netherlands New Guinea (present-day West Papua, Indonesia) in the early twentieth century. Departing from the hypothesis that the children may have been guiding the missionaries, this research studies if and how young West Papuans acted as ‘local intermediaries’ in the early years of colonial settlement. ‘Zooming in’ on engagements between missionaries and children in both visual and textual sources, two paradoxical aspects of Indigenous children in missionary archives are grappled with: their centrality as objects of civilising practices on the one hand, and their marginalisation as historical subjects in colonial textual practices on the other. The visual and textual are brought in conversation: the active presence of children as individual historical actors participating in processes of colonisation in the photographs helps to see children and their actions in ‘still’ discourse, to contextualise captured instances in time and space. This shows how and when missionaries depended on the knowledge, skills, and networks of local children to introduce them to their new working ground. This article thus adds to the existing body of literature on colonial intermediaries, in which young people constitute an overlooked group, and to complement understandings of non-elite colonial childhoods of Indigenous children outside of familial or institutional contexts.
{"title":"Zooming In","authors":"Marleen Reichgelt","doi":"10.3384/cu.3628","DOIUrl":"https://doi.org/10.3384/cu.3628","url":null,"abstract":"At the heart of this article is the presence of Indigenous children in photographs of explorative travels taken by Dutch Missionaries of the Sacred Heart of Jesus in Netherlands New Guinea (present-day West Papua, Indonesia) in the early twentieth century. Departing from the hypothesis that the children may have been guiding the missionaries, this research studies if and how young West Papuans acted as ‘local intermediaries’ in the early years of colonial settlement. ‘Zooming in’ on engagements between missionaries and children in both visual and textual sources, two paradoxical aspects of Indigenous children in missionary archives are grappled with: their centrality as objects of civilising practices on the one hand, and their marginalisation as historical subjects in colonial textual practices on the other. The visual and textual are brought in conversation: the active presence of children as individual historical actors participating in processes of colonisation in the photographs helps to see children and their actions in ‘still’ discourse, to contextualise captured instances in time and space. This shows how and when missionaries depended on the knowledge, skills, and networks of local children to introduce them to their new working ground. This article thus adds to the existing body of literature on colonial intermediaries, in which young people constitute an overlooked group, and to complement understandings of non-elite colonial childhoods of Indigenous children outside of familial or institutional contexts.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"187 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136063324","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Prefiguration is a term borrowed from political science, describing the experimentation with alternative ways of living, doing and being together in the present as a form of activism. In this article I will argue that cinema can be a powerful tool that can be used to support prefigurative objectives. Arguably, the point of origin of this methodology is Man with a Movie Camera (??????? ? K???????????? 1929) by Dziga Vertov. Structurally this film can be described as 'database driven' and as prescient toward the digital age in which databases and hypertexts are common organising principles affecting daily life experiences. But more importantly, the film presages a different, more harmonious society in a style that simultaneously uses documentary, experimental and poetic elements. The purpose of this enquiry is to establish whether subsequent crowd-sourced and community driven documentaries can be seen as equally successful examples of prefiguration.
Prefiguration是一个从政治学借来的术语，描述了以一种行动主义的形式，在当下以不同的方式生活、做事和相处的实验。在这篇文章中，我将论证电影可以是一个强大的工具，可以用来支持预言性的目标。可以说，这种方法的起源点是带电影摄像机的人(???????)？ K ????????????1929年)，作者齐格·维尔托夫。从结构上讲，这部电影可以被描述为“数据库驱动”，是对数字时代的先见之明，在这个时代，数据库和超文本是影响日常生活体验的常见组织原则。但更重要的是，这部电影以纪实、实验和诗意的风格，预示着一个不同的、更和谐的社会。这项调查的目的是确定随后的众包和社区驱动的纪录片是否可以被视为同样成功的预制例子。
{"title":"Cinema and the prefigurative","authors":"Karel Doing","doi":"10.3384/cu.1721","DOIUrl":"https://doi.org/10.3384/cu.1721","url":null,"abstract":"Prefiguration is a term borrowed from political science, describing the experimentation with alternative ways of living, doing and being together in the present as a form of activism. In this article I will argue that cinema can be a powerful tool that can be used to support prefigurative objectives. Arguably, the point of origin of this methodology is Man with a Movie Camera (??????? ? K???????????? 1929) by Dziga Vertov. Structurally this film can be described as 'database driven' and as prescient toward the digital age in which databases and hypertexts are common organising principles affecting daily life experiences. But more importantly, the film presages a different, more harmonious society in a style that simultaneously uses documentary, experimental and poetic elements. The purpose of this enquiry is to establish whether subsequent crowd-sourced and community driven documentaries can be seen as equally successful examples of prefiguration.","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"369 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77756062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There are plenty of objects that are conspicuous in the way they signal to the surroundings that the user has some kind of physical impairment. Most obvious are perhaps wheelchairs, motorized wheelchairs, hearing aids and crutches. These objects can be described as aids in the sense that the purpose is either to mitigate the effects of reduced physical abilities or to compensate for the loss of a sensory faculty. The focus of this article concerns an object that both increases mobility and replaces such a faltering capacity. It might even be the most iconic of all aids: the mobility cane, also known as the white cane, long cane or white stick. Based on the work at a Swedish Low Vision and Resource Centre, this article discusses the use of the white cane among people with severe and progressive visual impairment. The fact is that this aid, which for an outsider would easily seem to be a rather natural choice, can arouse completely different feelings in somebody who has a severe visual impairment. It is a well-known circumstance amongst low visions teachers and therapists that persons with acquired or progressive sight impairment are often not quite happy about using the aid. Therefore, the aim of the article is to utilize notions of everyday experiences to gain further insights into why the white cane for many of its potential users are associated with strong feelings of both personal ambiguity and social stress. In order to highlight these emotional, and still cultural and political, tensions, the discussion is grounded in critical disability studies and informed by ableism, stigma, and passing as theoretical concepts.
{"title":"Living with an iconic aid","authors":"Maria Bäckman","doi":"10.3384/cu.4233","DOIUrl":"https://doi.org/10.3384/cu.4233","url":null,"abstract":"\u0000\u0000\u0000There are plenty of objects that are conspicuous in the way they signal to the surroundings that the user has some kind of physical impairment. Most obvious are perhaps wheelchairs, motorized wheelchairs, hearing aids and crutches. These objects can be described as aids in the sense that the purpose is either to mitigate the effects of reduced physical abilities or to compensate for the loss of a sensory faculty. The focus of this article concerns an object that both increases mobility and replaces such a faltering capacity. It might even be the most iconic of all aids: the mobility cane, also known as the white cane, long cane or white stick. Based on the work at a Swedish Low Vision and Resource Centre, this article discusses the use of the white cane among people with severe and progressive visual impairment. The fact is that this aid, which for an outsider would easily seem to be a rather natural choice, can arouse completely different feelings in somebody who has a severe visual impairment. It is a well-known circumstance amongst low visions teachers and therapists that persons with acquired or progressive sight impairment are often not quite happy about using the aid. Therefore, the aim of the article is to utilize notions of everyday experiences to gain further insights into why the white cane for many of its potential users are associated with strong feelings of both personal ambiguity and social stress. In order to highlight these emotional, and still cultural and political, tensions, the discussion is grounded in critical disability studies and informed by ableism, stigma, and passing as theoretical concepts.\u0000\u0000\u0000","PeriodicalId":52133,"journal":{"name":"Culture Unbound","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81489350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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