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In this paper we aim to explain and illustrate the theory of Distributed Morphology for non-specialists. The goal is to take away any misunderstandings and to provide some illustrations of the workings of the theory, mainly on the basis of data from Dutch. Distributed Morphology is a theory of morphology that embraces the so-called Separation Hypothesis: derivation – the forming of a new word by some abstract operation – is separated from affixation – the realization or spell-out of the abstract operation by the addition of some phonologically specified element. The means used by DM to implement the Separation Hypothesis is by late (after syntax) insertion of affixes. Furthermore, Distributed Morphology claims that there is no separate component of the grammar where word-formation takes place. The operations that form new words are the same operations that may create syntactic phrases. Starting from these fundamental claims, we go into some detail of the way Distributed Morphology accounts for different morphological patterns. The paper also points at some cognate, but alternative, approaches to word-formation and inflection. In particular, we briefly address Borer’s so-called exo-skeletal model, and the nanosyntactic approach.

Building on our experiences in the NWO-funded research project “Changing Platforms of Ritualized Memory Practices: The Cultural Dynamics of Home Movies” (2012–2016), this chapter reflects upon the heuristic potential of the concept of dispositif for both studying and valorizing the history of home movie making and screening as 20th-century family memory practices. Our experiences with a wide variety of valorization activities – such as the making of two museum exhibitions, a historical re-enactment, and an online best practice guide – support an understanding of valorization as a highly reciprocal process between all stakeholders involved. Rather than involving a one-way dissemination of findings, embedded and embodied valorization practices, we argue, can facilitate engaged humanities research and raise the societal relevancy of historical investigations.

Lord Byron is one of the most striking 19th century examples of an icon in the modern sense of the word. During his lifetime Byron was already well known far beyond the borders of his native land. News about his taboo breaking literary work and his likewise unconventional way of living spread rapidly across the European continent and far into the 19th century Byron and the main characters from his narrative poems remained models for the rebellious ‘romantic’ hero: a modern version of Milton’s fallen angel. Much has been written about Byron’s work, life and reputation. All this interest makes “Byron” ideally suited for research into the historical development of an “icon as a cultural model”. The Dutch reception of Byron was entangled with the discussion about the ‘un-Dutch’ character of Romanticism. Paradoxically, there was also an appropriation of Byron and his work, resulting in a Christian ‘light’ version of the ‘Byronic hero’.

Since its inauguration in 1869, hardly anyone who travels to Florence will miss a visit to the Piazzale Michelangelo to enjoy the panoramic view of the city. But there is more than meets the eye. In this chapter it is argued that around 1800 the panorama of Florence started to grow into an iconic view, in line with the formative role that historians began to assign to the fifteenth-century Republic of Florence in Europe’s early cultural development; an idea that culminated in Burckhardt’s characterization of Florence as the cradle of modern man. Bearing this idea in mind, this chapter studies how the panorama, as seen from the southern hills, captures at a glance the Tuscan city in its almost unaltered early Renaissance state and demonstrates how it slowly grew into a very popular image that conjures up Florence’s historical achievements in a nutshell.

Departing from the present need for cultural models within the public debate, this volume offers a new contribution to the study of cultural icons. From the traditional religious icon to the modern mass media icon, from the recognizable visual icon to the complex entanglement of image and collective narratives: The Construction and Dynamics of Cultural Icons offers an overview of existing theories, compares different definitions and proposes a comprehensive view on the icon and the iconic. Focusing in particular on the making of iconic representations and their changing social-cultural meanings through time, scholars from cultural memory studies, art history and literary studies present concrete operationalizations of the ways different types of cultural icons can be studied.

This chapter explores how iconic events and objects manifest themselves in museum exhibitions, providing case studies on the representation of the World War II Blitz and the abolition of the transatlantic slave trade in the UK. De Bruijn shows how these historical events have acquired iconic status and how museums further contribute to their ‘iconization’ through the repetitive use of objects relating to air raid precautions and shelters, and of images and objects that have their roots in the abolition campaign of the eighteenth and nineteenth century. With some exhibitions also showing attempts to confront the ‘iconization’ process, the chapter offers insight into how museums navigate the dynamic cultural memory of specific histories, whilst preserving their own aim and mission.

Sparked by a groundbreaking Amsterdam workshop titled "Disorderly Order: Colours in Silent Film," scholarly and archival interest in colour as a crucial aspect of film form, technology and aesthetics has enjoyed a resurgence in the past twenty years. In the spirit of the workshop, this anthology brings together international experts to explore a diverse range of themes that they hope will inspire the next twenty years of research on colour in silent film. Taking an interdisciplinary approach, the book explores archival restoration, colour film technology, colour theory, and experimental film alongside beautifully saturated images of silent cinema.