Cultural History

This volume explores the dream cultures of the European long sixteenth century, with a focus on Italian sources, reflections and debates on the nature and value of dreams, and frameworks of interpretation.
The chapters examine a variety of oneiric experiences, since distinctions such as that between dreams and visions are themselves culturally specific and variable. Several developments of the period are relevant and consequently considered, from the introduction of the printing press and the humanist rediscovery of ancient texts to the religious reforms and the cultural encounters at the time of the first globalisation. At the centre of the narrative is the exceptional case of Girolamo Cardano, heterodox physician, mathematician, astrologer, autobiographer, dreamer and key dream theorist of the epoch. The Italian peninsula produced the first printed editions of many classical and medieval treatises, and, particularly between the 1560s and the 1610s, was also especially active in the writing of texts, both Latin and vernacular, fascinated by the oneiric experience and investigating it. Given the role of the visual in dreaming, images are also analysed.
This book will be a recommended reading for scholars, students and non-specialist readers of cultural history, Renaissance studies and dream cultures.

Various analogies can be drawn between architecture and literature. Thus,it is only natural if we assume that the spirit of a given age would be reflectedin the styles of both forms of art. John Ruskin said, `All architecture proposes aneffect on the human mind, not merely a service to the human frame\u27 (The SevenLamps of Architecture).The ruin of representation was mainly discussed in the context of literatureand paintings of the Romantic period. One of the reasons for this association wasWilliam Wordsworth\u27s famous poem `Tintern Abbey\u27, in which he expressed thefeeling of loss and beauty evoked by ruins. Wordsworth defined poetry as`emotion recollected in tranquility\u27 (Lyrical Ballads). As Ruskin aptly pointed out,`We may live without [architecture], and worship without her, but we cannot rememberwithout her.\u27 Architecture is closely related to memory, which is passeddown from generation to generation. In 1917, William Butler Yeats (1865_1939)purchased the 16th - cen...

Early on and after it reached its political independence, the elites in charge of the Republic of Chile made various attempts to create a museum for the country, which finally became a reality in 1841 under the title “Museo Nacional” (National Museum). This article examines the movements in the very notion of the museum that circulated both among those elites and among those who undertook the task of bringing the project to fruition, identifying different shifts in its use and meaning. In a genealogical journey through the history of the Museo Nacional de Chile during the nineteenth century, this article posits that its definition was plastic in nature, which allowed it to be used for different purposes. During the first half of the century, this plasticity enabled the hierarchization of its properties, relegating the exhibition of collections to a secondary role. During the second half of the century, however, Rudolph Philippi, its director, would lead a modernization process that would attempt to inscribe the institution under his charge in the canons of the modern Western museum. In this process, the visual consumption of collections would become intrinsic to the notion of the museum. Its “optical” nature and the importance of the visual in the ways of experiencing it would demonstrate, as I postulate here, a relationship between the museum, observational practices, and national identity. As Philippi affirmed, nothing but sight could give a person an idea of the collection of “Chilean nature.”

El presente trabajo es un ensayo de reflexión teórica y metodológica sobre la importancia de la interdisciplina para la historia de los impresos y de las prácticas lectoras en México en los siglos xix y xx, tomando en cuenta la experiencia personal de la autora en el tema. Para ello, se revisan los diferentes acercamientos a estos temas y las herramientas y teorías que la autora ha empleado, desde la historia cultural, historia de las prácticas de lectura, a través de Roger Chartier y Armando Petrucci, hasta las teorías de la recepción y de las mediaciones de los medios de comunicación de Manuel Martín Serrano, Jesús Martín Barbero y Enrique Sánchez Ruíz con su enfoque histórico-estructural aplicado a los medios de comunicación. Se sostiene que el estudio de dichas prácticas solo es posible desde la interdisciplina y se muestran algunos ejemplos de cómo se han aplicado esas teorías en la obra publicada de la autora sobre la prensa regional de México de los siglos xix y xx.
This article is an essay of theoretical and methodological reflection on the importance of in- terdiscipline for the history of printed press and reading practices in Mexico in the 19th and 20th centuries, from a personal approach. In order to acomplish this objective, I revise the different approaches to these issues and the tools and theories that I have used: from cultu- ral history, history of reading practices, through Roger Chartier and Armando Petrucci, to theories of reception and of the mediations of the media by Manuel Martín Serrano, Jesús Martín Barbero and Enrique Sánchez Ruíz through his historical-structural approach applied to the media. It is argued that the study of these practices is only possible from an interdisciplinary perspective and I show some examples of how these theories have been applied in my published work on the Mexican regional press of the 19th and 20th centuries.

Guest editors; Pablo Sánchez León and Isa Blumi

We are opening a call for articles for a Special Issue in the
journal Histories, on the following topic:

Hegemony in the imperial histories of the Dutch, English,
French and German empires tends to blur the experience
of those other older empires—such as the Habsburg,
Ottoman and Russian empires in addition to the
Portuguese and Hispanic empires—that transitioned
between the early modern and modern periods,
maintaining themselves in the midst of growing
international competition.
Given this background, this Special Issue addresses the
dynamics of imperial settings, which, from the 1700s to the
1900s, had to undertake important cultural and
institutional transformations to be able to adapt to the
challenges posed by emerging powers in the context of the
rise of capitalism, liberal revolutions and the establishment
of national states.

This article aims to analyze the impact of population migrations in the 19th and 20th centuries on the social structure and forms of resistance that emerged in the Zambezi valley. The reasons for choosing this topic arise from the observation that, in the histórical process, the Zambezi Valley was and has been the stage for the meeting of many peoples and cultures with diverse, converging or divergent interests, largely linked to trade and others of a humanistic nature, as is the Nguni case who were welcomed in the region after they escape from Chaka Zulu's attacks. For this, it is questioned how the intercultural contacts that took place in the histórical process impacted the social structure of the Zambezi Valley’s peoples? Methodologically this work is based on bibliographical research. We hope with this research to bring a theoretical contribution in the reflection on the theme under study and in practical terms to elucidate the origins and the trajectory of a people. The research concludes by showing that the Nguni migration and its settlement in the northern Zambezi valley had an impact on the social structure and caused resistance on the spot.
Keywords: social structure, migrations, resistance, Nguni, Prazos

In the first half of the nineteenth century, Belgium was repeatedly praised as a country of collectors and amateurs, and private art and antique collectors were important and highly visible actors in urban cultural life. At a time when the public museum was still a relatively recent innovation, private collections were quite easily accessible for local and international visitors of the same social rank as the collectors. By the beginning of the twentieth century, however, the collector’s position in the public sphere had changed dramatically. Private collections were less accessible to an ever-expanding and increasingly culture-consuming public, and functioned more strongly in the context of the personal and explicitly private aims and networks of their owners.

This book uncovers the premises and reasons for private collectors’ shifting public role and relevance in nineteenth-century Brussels, Antwerp and Ghent. It examines the specific social, cultural, political, artistic and material context of private collectors’ activity. Its main focus is on three related issues: 1) collectors’ social profiles and networks; 2) collectors’ tastes; and 3) the function, accessibility, display and reception of the collections. Attention is also paid to the differences between Brussels, Antwerp and Ghent with regard to the urban collecting cultures. The book intends to further our understanding of the diverse ways in which private collectors interacted with the social, cultural and artistic life of their cities and what the collectors’ changing relationship to the public sphere can tell us about broader shifts in nineteenth-century culture, art and society.

In this study, modeling the effect of discharge waters from various industrial establishments located along the Degirmendere basin in Trabzon was investigated. Discharges from industrial establishments directly influence the water quality of the Degirmendere River, which is also influenced by inputs resulting from sewage, industrial processes, and agricultural run-off water discharge. Wastewaters are often discharged continuously into this river. The organic compounds found in the water are utilized by aquatic microorganisms and consequently reduce the dissolved oxygen (DO) concentration in the river. Models of DO profiles are useful in predicting possible consequences of additional river discharges or aeration strategies on the river. Input data for the model was the average of data collected between 1996 and 2004. The resulting four different scenarios were indicative of the effects of industrial discharge water, especially the dynamics of DO, BOD 5 , temperature, and fecal colifo...

Diese grundlegende Erkenntnis des Systematischen (Pop-)Musikwissenschaftlers Helmut Rösing wird sehr illustrativ von Handelnden der populären Musikkulturen höchstpersönlich verdeutlicht: 1999 etwa veröffentlichte der Elektronik-Musiker und Produzent Justus Köhncke (u.a. Whirlpool Productions mit Hans Nieswandt) sein Album namens "Spiralen der Erinnerung". Aktuell singt Isabelle Pabst (u.a. Tired Eyes Kingdom, Hans Nieswandt), Musikerin und Absolventin des "Master of Music" am "Institut für Pop-Musik" an der Folkwang Universität der Künste Essen/Bochum, mit dem Poetik-Dozenten (Universität Münster), Künstler, Autor und Musiker Hendrik Otremba (u.a. Messer) in dem Song "Wieviel Menschen waren glücklich, daß Du gelebt?" von ‚Schleifen der Erinnerung' und covert auf verzaubernde Art und Weise die große Hildegard Knef. Referenzen begleiten die Musiken, mal latent, mal explizit. Pop nicht als Genre verstanden, sondern als die Kulturen populärer Musiken, die medial verbreitet und massenhaft mit Vergnügen rezipiert werden, archiviert, tradiert und zersetzt sich permanent auf allen Ebenen schon aus sich selbst heraus, gilt als vergessliche Erinnerungsmaschine, die meist, nicht immer, produktiv zwischen Referenz und Neuheit, zwischen Anschluss und Abbruch changiert. Das ist zunächst wahrlich keine besonders neue Erkenntnis (Jacke & Zierold, 2015 und die von Martin Zierold und mir gastherausgegebenen Ausgaben 4/2009 von "Medien & Zeit" https://medienundzeit.at/ wp-content/uploads/2015/04/MZ_2009-04.pdf) sowie 24/2 (2008/2005) vom "Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft (SPIEL)"). Dem zu Grunde liegt, dass sich Kulturen ständig auch mit sich selbst beschäftigen, um sich weiter (oder auch weiter zurück) zu entwickeln, eben in Schleifen oder noch besser, da sich permanent im Zeitstrahl voran bewegend, in Spiralen. Die populären Musik-und Medienkulturen scheinen dabei einerseits besondere Vorbehalte gegenüber institutionalisierten, historisierenden Betrachtungen und ‚Anhaltungen' zu haben, sind sie doch teilweise be

Kościół katolicki odegrał w rzeczywistości społeczno-politycznej PRL w latach 1979–1989 kluczową rolę, znacznie wykraczającą poza sferę ściśle duszpasterską. Pierwsza pielgrzymka Jana Pawła II do ojczyzny była nie tylko sukcesem pod względem uczestnictwa wiernych w poszczególnych uroczystościach, ale również w zakresie przekonania o posiadaniu przez społeczeństwo katolickie podmiotowości w ramach systemu komunistycznego. W okresie rewolucji „Solidarności”, będącej częściowo skutkiem papieskiej wizyty, Kościół na czele z Episkopatem odegrał kluczową rolę jako mediator i pośrednik między władzami a niezależnym ruchem społecznym. Jego rola jeszcze się zwiększyła w czasie stanu wojennego, gdyż biskupi jako swoje najważniejsze zadanie traktowali opiekę nad: aresztowanymi, internowanymi i ich rodzinami. Największy wpływ Episkopatu Polski na rzeczywistość społeczno-polityczną przyniosły lata 1987–1989. Hierarchia kościelna odegrała ważną rolę w doprowadzeniu do „okrągłego stołu”, jej postawa w czasie wyborów czerwcowych zaś przyczyniła się do wielkiego sukcesu „Solidarności”.

Dr. James H. Tuten, the Dr. Charles R. and Shirley A. Knox Professor of History at Juniata College, discusses the human propensity to make distinctions about one another. He draws on many examples of distinction-making, including some that are personal, to help those in the audience understand the nature of what he defines as Presumptuous Distinction Making. By understanding how and why people tend to make distinctions between one another, he argues, we can learn about the past as well as the present. Dr. Tuten recommends that to become the best kind of “critters,” we need to have a growth mindset and focus on knowing people rather than making distinctions.

This article presents the use of the film "Willkommen bei den Hartmanns" (director: Simon Verhoeven, 2016) in German as a Foreign Language lessons. The film shows how a wealthy Munich family takes in the Nigerian refugee Diallo. The film deals with the internationally acclaimed welcome culture in Germany during the refugee crisis in 2015, but also with stereotypical ideas about foreign cultures, the fear of Islamism and the rejection of refugees by xenophobic groups. In particular, the film depicts the encounter of two cultural spaces by means of the refugee and the Hartmann family, whereby not only the perspective of the
Hartmann family is conveyed, but also that of Diallo, as he is not afraid to confront the family members with his ideas. Here, various cultural standardisations are shown that can stimulate reflection on one’s own values and the German national identity.

The history of courage here refers to the various meanings the term has taken on as a word, concept, and indicator of cultural beliefs during successive periods of history within the Western tradition. Understood in this way, courage is less an easily identifiable type of human action or aspect of character than a concept that has (1) been the object of extensive philosophical and intellectual enquiry, such that it is a branch of the broader history of ideas and (2) has been radically redefined and reconceived at different points in its history in ways that reflect the value system and general worldview of the culture then reckoning with courage in its literature and art, philosophy and science, religion and politics. According to this hermeneutic, each culture defines courage for its own ideological purposes and according to prevailing cultural beliefs and attitudes.

Patriots are people who love their country and it's people, it is said. Well, that sounds fair enough to be called a good and respectable idea or worldview, right ? But; is that really so ?

A patriot is a man (or woman) who will chose in any given situation the well-being and greater good of his or her people, so it is implied and insinuated that a patriot is a good heart man because he or she thinks and cares beyond his or her own needs and well-being and is caring about the lives and well-being of the others as well-the others of his or her country, people, nation, tribe, ethnos that is.

Se trata de crear un repositorio digital de apoyo a la docencia virtual, con contribuciones innovadoras en el empleo de fuentes artísticas y culturales para el estudio de la crisis del Estado liberal y de la primera globalización (1920-1930)