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Copyright of Cuadernos de Historia Contemporanea is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Immaterial is the property of BAU, Centro Universitario de Diseno de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism of the book "Bolivia en el Primer Centenario de su Independencia" edited and introduced by Spanish aristocrat J. Ricardo Alarcón A. and sponsored by the administration of Bolivian President Bautista Saavedra is presented. It analyzes how the nation's political elites depicted the state of their country one hundred years after the celebration of its independence from Spain in 1825. It provides an overview of the work and mentions the context in which it was composed.

This paper aims to point out some elements concerning the importance of the Essay in shaping Latin American critical thinking. To this end, it proposes to interweave two specific moments. Namely, the theoretical consideration of the epistemological value of the essay advanced by the Frankfurt School Critical Theory, and its particular function for Latin America, drawing on the historical context of Hispanic-American modernism, which covers the period of transit between the nineteenth and twentieth centuries. What is asserted, by means of this relational procedure, is that the use of the essay, a form of knowledge linked to the process of European Enlightenment, was paramount to establish both the lines of action and the very particularity of this region, as well as to base what can be considered a form of Latin American critical thinking. Additionally, this paper argues that its use was a matter of historical awareness. [ABSTRACT FROM AUTHOR]

This paper analyzes the work of two Indian sociologists who defined the contours of sociology in India in the immediate post-independence decades, M. N. Srinivas and A. R. Desai. It argues that their scholarship can be linked to sociology's legacy as anthropology in India and its embeddedness in the episteme of colonial modernity. It contends that Srinivas's methodology, the field view, attempted to make a break with earlier methods, such as book view. However, his three concepts, that of dominant caste, Sanskritization and Westernization were perceived as civilizational attributes and which had organized social change in India. A. R. Desai, a Marxist historical sociologist, made an incisive critique of capitalist exploitation and elaborated the material conditions that led to peasant and working-class revolts. However, his sociology could not unravel the caste-class linkages that organized the Indian 'social' which was embedded in Indian nationalism. This paper suggests that a definitive understanding of modernity emerges in Indian sociology in the late 70s when the feminist, dalit and tribal movements interrogated the material basis of contemporary India's developmentalism and its capitalist and exploitative character. [ABSTRACT FROM AUTHOR]

Scholars have presented the Buddhayana Movement as a diverse and localized form of Indonesian Buddhism, which was facilitated by the cooperation of transnational Buddhist networks. This paper raises two questions: (1) what were the impacts of Theravada Buddhism that facilitated the rise of Buddhayana? and (2) when Theravada became a symbol of authentic Buddhism and its identity could satisfy the state rather during assimilation policy, how did Buddhayana members balance the needs of the Chinese patrons and of the government? Based upon documentary methods combined with in-depth interviews, the data collected are analyzed through the concepts of transnationalism and the discourse of modern Buddhism. This paper proposes that (1) the birth of Buddhayana in the 1960s was facilitated not only by transnational relations, but also by the discourse of modern Buddhism, which led to an emphasis on Theravada Buddhism. Therefore, even though Buddhayana claimed to be open to Mahayana and Vajrayana as well, its official doctrines and ritual performances presented in public tend to be Theravada in character. (2) The politics of discrimination against the Chinese Indonesians helped to marginalize Mahayana Buddhism, a tradition that its image links to the Chinese culture. In consequence, Mahayana tended to play a role in the daily practices of the Chinese in their houses and klenteng, meanwhile Theravada in terms of philosophical teachings and huge rituals was chosen to be presented in the public sphere in accordance with the state’s needs. [ABSTRACT FROM AUTHOR]

Copyright of Papeles del CEIC is the property of Centro de Estudios sobra la Identidad Colectiva, Facultas de Ciencias Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper challenges the World Religion Paradigm (WRP) dominating religious studies, advocating for a decolonial approach that focuses on diverse and often marginalized religious expressions. The approach that prioritizes world religions over the rich diversity of religious expressions in multiple modernities turns out to be insufficient and biased. Through theoretical research, this paper explores the implications of multiple modernities for the religious landscape. Drawing on Eisenstadt's theory of multiple modernities, the analysis critiques linear notions of modernization and secularization, and it highlights the complex interplay between religious centers and peripheries. It develops a critical examination of how the theory of the Axial Age, by prioritizing elites and centers in the historical genesis of world religions, generates a preconception that overlooks the religious and spiritual productivity of the peripheries, which persists within current interpretative frameworks. To emphasize the dynamic between center and periphery as a key factor in understanding religious diversity, the text proposes some theoretical theses. By embracing a diversity paradigm and decolonizing frameworks, this paper offers a more inclusive understanding of religious phenomena, contributing to a broader discourse on religion and spirituality beyond Eurocentric perspectives. [ABSTRACT FROM AUTHOR]

In this paper, I follow trails of the auto/biographical turn in the field of gender and science, particularly focusing on women mathematicians' epistolary narratives. The paper emerges from a wider Leverhulme funded project of writing a feminist genealogy of «automathographies», tracing women mathematicians' historical emergence as subjects of scientific knowledge, as well as creators of philosophy and culture. What I argue is that letters are important auto/biographical documents in illuminating women's epistemological and intellectual involvement in the making of scientific knowledge, which included the development of mathematical sciences, but was also expanded in the wider cultural formations of the European modernity. In doing so, I deploy the notion of «epistolary sensibility» as a methodological and epistemological approach to archival research with women mathematicians' letters. [ABSTRACT FROM AUTHOR]

Copyright of Namaa Magazine is the property of Namaa for Research & Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of On the W@terfront is the property of University of Barcelona, Centre de Recerca POLIS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Literatura: Teoría, Historia, Crítica is the property of Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Francis Picabia's Bobinage (Bobbin, Winding or Coil) is a pencil and ink work produced on gouache-painted paper between 1921–1922. The free-floating forms in this piece appear, at first glance, to be studies in geometric abstraction. Yet, they, and the work's title, make both semiotic and real-world references. The admixture of perspectives is notable, for it retains traces of the Cubist visual language that motivated Picabia and his peers as well as the imagery of the early twentieth-century technical diagrams that, as has been demonstrated by scholars, inspired his work. Examining Coil and other of Picabia's artworks in tandem with the scholarship that has investigated these influences, this article explores the artist's engagement with the very issue of representation. Through this investigation, this paper considers the ways in which Picabia's work alludes to gender in a manner that privileges masculinity yet calls attention to the destabilizing effects of modernity—and modern representations—on notions about gender and, even, what it means to be human. Contextualized thusly, Coil represents not an abstract divergence but rather a continuation of the artist's technical, gender, and, one could say, even cyborg investigations, revealing his engagement with new and innovative ways of perceiving, conceiving, and depicting modern experience. [ABSTRACT FROM AUTHOR]

This document is an introduction to a special issue of the journal "Histories" on the topic of "Images of Nature." The issue originated from a conference on "Nature" at the University of Geneva in 2022 and aims to explore the historical development and changing perceptions of nature. The call for papers focused on the impact of religion, science, and environmentalism. The selected papers cover various time periods and themes, including late medieval/early modern scholarship, the transition to modernity, western alternatives, and global outreach. The document also discusses the dissemination and popularization of the concept of "nature" and its translation into different languages and cultures. The article within the document explores the historical development of the concept of 'nature' in European academic circles, discussing the influence of physicians and theologians in shaping the understanding of nature, the emergence of the nature-culture dualism and its connection to power relations, evolving ideas about souls and their attribution to different beings, and the challenges of achieving balance and understanding diverse perspectives in historical research. [Extracted from the article]

Copyright of Ñawi: Arte, Diseño y Comunicación is the property of Escuela Superior Politecnica del Litoral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the evolutionary process of moving from traditional styles to pioneering directions in the opera genre. This phenomenon expressed itself in a mixture of styles and forms of language, in the integration of different types of artistic means of expression. Another issue would be related to the nature of the lyrical tradition, its need for preservation and continuity, and the extent to which innovation is tolerated in opera to ensure that artistic works do not cross genre boundaries. It is a new phenomenon for contemporary actors and audiences, the one present in the theater today. By examining the evolution of the art of opera, it was possible to identify the general pattern of development of innovative opera and to argue that artistic integration is the source of diversity on stage and the basis of innovation in opera production. For this purpose, a cultural-historical and historical-artistic approach was used. The academic novelty of the study consists, first of all, in the complex analysis of the sources related to the translation of metalanguage in lyrical art, and secondly, the incorporation of these sources in the academic circulation as important and significant for the recognition of the reform of the opera genre. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines Atay's "Railroad Storytellers - A Dream" in terms of Atay's modernist experimentation in his depiction of space and spatiality, emphasising his contribution to Turkish literature as a pioneer modernist author. Oğuz Atay's distinctive and innovative style, which forms his affinities with the early Western modernists such as James Joyce and Virginia Woolf, establishes his significant place as a pioneer modernist author in Turkish literature in the 1970s. The concept of 'house/ home' by Gaston Bachelard in The Poetics of Space (1957, 2014) is instrumental for me as it pertains to the predicament of three storytellers as artists in the nameless and remote railroad station. The narrator of the story and his fellow storytellers gradually sink into disconnection, confusion, misery and poverty in an environment that represents the cold and unwelcoming face of technological modernisation symbolised by the space of the train station. The narrator's quest for finding a 'home' to connect him to his readers and where he could exist as an artist comes to life in his attempt to write a letter to his readers, telling them he is still 'here' and asking them where they are. No matter how blighted that effort is since the narrator has no address to send the letters to, the endings for Atay's story imply a need for connection with his readers expressed in the impossible meeting of the 'here' with the 'where' in spite or because of the estrangement and alienation of the artist/author in the modern world. Hence, the possibility of space as a 'home' for the author/narrator dwindles in the not forthcoming answer to the letter that will never reach its destination. [ABSTRACT FROM AUTHOR]

One of the fundamental challenges facing higher education is the much-needed confrontation of the legacies of colonialism which are hidden behind the claims of universality, neutrality and objectivity in knowledge production. From the vantage point of the present, Mahmood Mamdani, is one of the scholars who have given an account of colonial rule, its main characteristics and consequences of colonial conquests in a telling manner that renders transparent how the universalising structure of political modernity produced the colonised as subjects of difference. In his writings, Mamdani has connected the diverse experiences of the post-colonial world and flagged modernity as very pivotal in understanding the politics of knowledge production because it was crafted by the colonial project which centred on producing colonial subjects of difference within the hegemonic European thought. Mamdani's main contribution is his use of historical analysis from the vantage point of the present to offer a productive frame of thought on knowledge production that exposes the anatomy and operation of colonialism and its universalising structures that have been inadvertently normalised as the model in knowledge production. In this article, I attempt to piece together the fundamentals of Mamdani's exposition of how colonialism was a particular variation of the discourse of difference that shaped forms of existence and knowing. Primarily using a decolonial inspired theoretical framework, the paper makes a nuanced reading of Mamdani's writings to show how his contributions makes visible the impact of colonialism as a project that is not confined to history and its pervasiveness in shaping the production of the objects of knowledge and its subjects. [ABSTRACT FROM AUTHOR]

Literature relies heavily on mythology. Myths are stories of deities, monsters or immortals which are transformed from one generation to the other. In addition to documenting the religious and cultural experiences of a specific community, myths also outline the consequent literary, artistic and dramatic customs. Some Greek myths have survived for thousands of years because they accurately depict historical events, cultural values, and trends. Among the most famous classical myths are the myths of Medusa and Medea. As for the myth of Medusa, the earliest known record was found in Theogony (700BC) by Hesiod (8 th-7th century BC). A later version of the Medusa myth was made by the Roman poet Ovid (43BC -17/18AD), in his "Metamorphoses" (3-8 AD). Then again, Medea is a tragedy produced in 431 BC by the Greek playwright Euripides(480-406BC) based on the myth of Jason and Medea. Both Medusa and Medea are among the most fascinating and complex female protagonists in Greek mythology which have captivated many writers and playwrights for ages. In the twentieth century, there were many adaptations of both mythological figures; among these adaptations were those made by contemporary American and Irish women playwrights like Carol Lashof (1956-) and Marinna Carr (1964-). This paper examines the myths of Medusa and Medea and analyses the ways these myths are borrowed, refashioned and exploited in Lashof's Medusa's Tale (1991) and Carr's By the Bog of Cats (1998). Both playwrights explore hidden dimensions of the traditional myths, combining elements from the old and modern worlds. [ABSTRACT FROM AUTHOR]

Copyright of Amazonia Investiga is the property of PRIMMATE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pedagogía y Saberes is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

They call for the abandoning of various so-called false and historically adulterated traditional practices and beliefs of Muslims and a renewed commitment to pure Islam - the Islam which was practiced by the first few generations of Muslims. To not include all Muslims and Islamic revivalist movements in a discussion about contemporary Islamic revivalism is to ignore vital dimensions of the modern Muslim experience, which can render generalizations about contemporary Islamic revivalism not only weak, but even invalid. In Arabic, Islamic revival is called I tajdid, i which literally translates to "regeneration" or "renewal". In academic works, "Islamic revival" is an umbrella term used to describe Islamic revivalist movements or the contemporary global phenomenon of Islamic revivalism. [Extracted from the article]

Relying primarily on Bruno Latour's works, such as "We Have Never Been Modern" (1991) and "An Inquiry into Modes of Existence: An Anthropology of the Moderns" (2012), alongside influential texts by Dipesh Chakrabarty, Peter Osborne, Quentin Meillassoux, and Justine Huppe, and contributions from New Modernist Studies scholars like Sascha Bru and Jean-Michel Rabaté, among others, this paper sets two aims. Firstly, it seeks to articulate a concept of modernism distinct from both Latourian perspectives and the approach of the New Modernist Studies, but aiming to foster a dialogue between the two. I will coin it "conceptual modernism" and I will explore the way in which through "We Have Never Been Modern," Bruno Latour transcends his role as a mere sociologist of science, making a significant impact on the humanities. In the second part of the essay, I endeavor to define the paradox of modernism, characterized by a discourse asserting the failure of theories alone to accurately represent truth about reality and the world. The emerging theoretical landscape, indebted to anthropology, shaped by Latour's prominence in the early 21st century, necessitates an interaction between theory and practice. Latour brings theory "down to Earth" as I will illustrate in the final section of this paper. I will explore how Latour, as a new kind of Modernist thinker, addresses this paradox by establishing and practicing a novel "deal" between words (ideas, theory) and things (fieldwork). This involves not only traditional academic pursuits such as writing books and giving lectures but also engaging in various forms of fieldwork, functioning as an anthropologist, artist, scene director, and even a poet. [ABSTRACT FROM AUTHOR]