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Recognizing stratigraphically important bounding surfaces relies on assessing the facies that juxtapose these surfaces as well as the trace fossil omission suite associated with the surface. The ability to differentiate between purely transgressive surfaces and those that conceal earlier stratigraphic surfaces that allude to a more complex history of development regarding the identification of allogenic surfaces of sequence stratigraphic significance that might have otherwise been overlooked. This study analyzes four examples of transgressive surfaces of erosion from Cretaceous-aged strata, with three of the examples representing a TSE/SB (amalgamated transgressive surface of erosion with a sequence boundary) that mask earlier base level falls. Consideration of variable omission suites along depositional strike and dip highlights the influence of substrate rheology on the nature of omission suites. In this study we demonstrate marked changes in the omission suite along bounding surfaces along proximal to distal trends that arise due to changes in underlying rheology. Finally, detailed core analysis is shown to be an imperative asset to subsurface investigation to address the limitations of using wireline well data alone in identifying stratigraphically important surfaces for more accurate regional mapping and characterization of transgressive surfaces. This study highlights that many stratigraphically important surfaces such as those that correspond to a TSE/SB may go unnoticed if utilizing wireline data alone. Overall, this study provides a comprehensive approach to further understanding and identifying transgressive surfaces in the rock record, especially those that demarcate a more complex history other than simple transgressive ravinement. [ABSTRACT FROM AUTHOR]

Part of a larger ethnographic study on Italian youth mobilities, this paper investigates the transitions to adulthood of young returnees who have gone back to Italy after a period of living and working in Australia. Adopting the 'mobile transitions' approach, we illustrate the ways in which mobility affects transitions to adulthood. We suggest that upon return these transitions unfold like a palimpsest, where the old texts are layered over with new ones, unsettling conventions about adult life and disrupting assumptions that return is a final stage in the transition process. New meanings around adulthood emerge in these young Italians' mobile experience that continue also after return. We explore this through their aspirations for the future and their renegotiation of family relationships. Return for these young movers means bringing home a new perception of their current and future selves and especially of their role within their family of origin and Italian social and political culture. This is significant if we consider that Italy is the 'country of the long family' (Cavalli, A. 1997. "La lunga transizione all'età adulta." In Giovani del nuovo secolo. Quinto rapporto IARD sulla condizione giovanile in Italia, edited by C. Buzzi, A. Cavalli, and A. De Lillo, 38–45. Bologna: Il Mulino), where the youth condition is characterized by a delayed acquisition of autonomy and the consequent late assumption of responsibility and adult roles. [ABSTRACT FROM AUTHOR]

The world in 2020 presented Australia with a world on fire, in lock down, and in environmental ruin, with potentially unprecedented social dislocation, homelessness, unemployment and mental health issues. Four artists reaction was to collaborate in an attempt to make sense of the complex COVID-19 context that was unfolding in front of them. Their interdisciplinary collaboration resulted in the multimedia artwork: Contested Spaces. Two iterations of the artwork (2020 and 2021) were exhibited as the artists navigated the unfolding spaces inhabited as they learnt to live and cope under the strictures of COVID-19. The 2021 iteration, was part of a national arts and mental health focus consisting of exhibitions, talks and workshops at the National Art School in Sydney and ECU Galleries in Perth. Through Contested Spaces the artists explored the complexity of unique circumstances brought about by the pandemic. Working collaboratively across disciplinary boundaries, created a space in which alternate understandings manifested as a consequence of the situation. This paper argues that the ongoing narrative of COVID-19 needs to be examined and scrutinized, in reconsidering our constant perpetual present, one that contests ideas and art making processes, proffering interdisciplinarity methods as a productive means for critiquing everyday pandemic complexity. [ABSTRACT FROM AUTHOR]

AbstractAmid the racial uprisings of 2017 and 2020, digital projections emerged as a mode of protest contributing to the calls for removal of Confederate monuments. These digital projections, I argue, created a dialogue between the contested Confederate monuments (the past) and their contemporary surroundings (the present). By examining the digital projections that were cast upon the Albert Pike Memorial in Washington, D.C. and the Robert E. Lee Monument in Richmond, Virginia, I demonstrate how they employed a palimpsest to facilitate discourse concerning public memorialization practices and to re-contextualize and reclaim contested sites into spaces for community engagement. [ABSTRACT FROM AUTHOR]

This article gives a brief overview of the development of Vietnamese lacquer painting, a unique art form, which came into being due to French and Vietnamese artists collaborating in the 1920s and has continued to flourish throughout the ensuing periods of war and independence. Under-theorised and relatively obscure, the use of layering, combining mixed media and sanding processes, differed from lacquer arts in other Asian countries at the time, and can be used create a spectacular array of textures and finishes. While the impact of the political context on artistic expression has been explored elsewhere, this study has focused on the processes, techniques and modern styles in the context of the global art world. [ABSTRACT FROM AUTHOR]

The work of Dublin-based painter Lorcan Walshe is particularly concerned with the relationship between inscription in its broadest sense and the visual image. His two related series, The Artefacts Project (2007) and Museum Pieces (2008), engage with Ireland's precolonial past in search of personal artistic, as well as broader cultural, roots during a period when national narratives were being challenged and reconfigured as a result of an increasingly diverse Irish society. The Artefacts Project and Museum Pieces reflect on whether the art of the precolonial past can still be read in a meaningful way in a postcolonial present in which Ireland finds itself part of a globalized world. Reaching across the chasm of history, Walshe's works emphasize that our reading of the past must always involve an act of translation in order to retain significance in the present: the meaning of the artefact is created anew as it is translated not only from one historical moment into another, but also from one artistic medium into another. This article argues that Walshe's The Artefacts Project and Museum Pieces question the hierarchical division between writing and the visual image by reading the artefacts of Ireland's past as visual texts. In this context, drawing and painting themselves emerge as forms of inscription that are part of the process of reading and acts of translation. As a result, the artefact becomes a palimpsest of translations and inscriptions. [ABSTRACT FROM AUTHOR]

This paper focuses on modes of stabilities and mobilities within a park in central Hanoi where the past and present intersect as tourists and locals visit and interact with each other as well as with the visual and aural resources. We document the transformable nature of what is represented in space and time by considering how the material artefacts, the written resources inscribed in space, the aural resources created by various actors and their mobility collectively mark the space. Over time, some resources remain, others leave momentary traces, while still others re-emerge in similar but not identical forms, creating multiple layerings of this urban palimpsest. This paper documents some of these layerings and considers how they inform our understandings of the ways stabilities interact to enable and disenable mobilities in semiotic systems. [ABSTRACT FROM AUTHOR]

In the middle of the twentieth century, when the European Union (EU) started to take shape, numerous European colonies – many with a significant Muslim population – gained independence. These two moments in history need to be read in relation to each other when thinking about "Islam in Europe". This paper engages in such a relational reading and shifts the analytical focus from "Islam" to "Europe", exploring the ways "EUrope" manifests itself in the city of Brussels. By combining a spatialized analysis of the European Quarter with the conceptual lens of the "palimpsest", I seek to offer a spatiotemporal framing that renders visible the material remains of imperial formations within the fabric of "EUrope". The paper further explores how these often unmarked layers configure EU-space as "white" and Christian, and impact the ways Muslim bodies navigate within the EU-fabric and create counterspaces. [ABSTRACT FROM AUTHOR]

It has often been thought that shallow open sites (<50 cm of artefact-bearing deposit) in the undulating landscape of the Cumberland Plain would not retain any chronologically meaningful vertical distributions. The prevailing geomorphic model has proposed that artefacts discarded by people at different times would have been buried and mixed together by bioturbation. To address this model, this paper analyses the vertical distributions of artefacts at 21 open sites and finds that 13 of those sites show vertical variation in the proportions of indurated mudstone/silicified tuff (IMST), silcrete and/or quartz artefacts. The trends shown by the distributions are broadly consistent with a known regional change in raw material use and indicate the survival of some chronologically meaningful artefact variation with depth of the deposit. In addition, sites with increased proportions of older IMST artefacts in deeper deposits tend to be associated with larger streams and tend to occur at low elevations. This suggests that the survival of older artefacts could be related in part to long-term geomorphic processes visible at the landscape scale. The results indicate that sites may have differing histories of visitation, artefact discard, geomorphic processes and survival of evidence, and that careful, stratigraphic excavation is warranted. [ABSTRACT FROM AUTHOR]

This article takes as premise that the onset of the COVID-19 pandemic in 2020 has left South Africans, along with the rest of the world, feeling acutely aware of their own historicity. The idea of historical self-awareness coalescing around major social and historical shifts has been expertly theorized already, but I hope to offer a reading of this phenomenon through three post-2000 South African novels that deal with the theme of plague. A reading of Ricoeur's work on time and narrative, combined with Bakhtin's theorization of polyvocality in the novel leads me to suggest, following Gérard Genette, Ken Barris and Ronit Frenkel, that the idea of the palimpsest in South African writings has particular potency for thinking about historical change. I propose that these ideas are skilfully fictionalized and rendered imaginatively accessible in Diane Awerbuck's Home Remedies (2012), Marcus Low's Asylum (2017) and Russel Brownlee's Garden of the Plagues (2005). [ABSTRACT FROM AUTHOR]

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The idea that Kenya is made up of 42(+) tribes is widespread, but the origins, nature and consequences of any list are not well-known. This article compares ethnic classifications in all Kenyan censuses to demonstrate the origins of the '42' in (only) the 1969 census, and the multiple political purposes of classifying and counting. To make sense of why the 42(+) remains significant, I argue a cultivated vagueness provides a sense of consistency, linking a national past to present and future, while providing the basis for both numbers-based competitive politics and more inclusive politics. Moreover, it avoids engaging in politically risky work of making legible sense of shifts in ethnic identities, classifications and numbers, and avoids having to resolve their relation to the nation, which benefits both state and citizens. Extending literature on the political utility of uncertainty, I theorise this cultivated vagueness as magic, backed by opaque forces, potentially dangerous or beneficent, which deters interrogation or certainty on all sides. To further clarify this awkward relationship between vagueness and certainty, I argue ethnic classifications are intelligible via the social imaginary of the 42(+), but not especially legible, contesting the literature on census practices as tools of legibility and governability. [ABSTRACT FROM AUTHOR]

This paper considers the possibility that as subject or agent, the landscape might have the potential to contain, store or transmit memories of their past, which are engaged experientially as uncanny. In a simple sense it asks why there are some landscapes – or landscape features – that are regarded as spiritually animated by different social groups, at different times. The paper focuses on the Neolithic temple site of Borġ-in-Nadur, in Southern Malta, which as well as having been a site of prehistoric ritual activity has more recently been the site of a significant devotion to the Virgin Mary, who graced the site with regular apparitions, and a focus for national and transnational Goddess pilgrimage. The paper suggests that sites such as Borġ-in-Nadur can be seen as palimpsest landscapes, in which memory is layered such that experiential engagements with them draw the past in to the present, and forwards into the future. The paper examines the intertwining of prehistoric, Catholic and Neo-pagan engagements with Borġ-in-Nadur, extending Pierre Nora's concept of lieux de memoire (sites of memory) to encompass the milieux de memoire, or memorial environments, which are themselves also context of, and for, the uncanny. [ABSTRACT FROM AUTHOR]

Genetic criticism often leads to serendipitous discoveries. 'Mr. Howard's House. CREOLE' is a case in point. This unpublished manuscript dated 4 December 1938, which is held in the Jean Rhys Archive at the University of Tulsa, Oklahoma, is a true palimpsest that testifies to ghostwriting in the literal sense of the word. For one thing, it retains spectral traces of a final draft of Good Morning, Midnight on the back of which it was written, containing nothing less than the only extant fragments from the manuscript of Jean Rhys's fourth novel. But it also holds the most primitive trace of Wide Sargasso Sea, namely Antoinette's dream at the end of Part I. Thus, it does expose the writer at a crossroads, trying to let go of Good Morning, Midnight while having the earliest intimations of the first Mrs. Rochester. And it also carries within itself the seeds of some of Rhys's later works. With the help of the avant-texte, we shall examine in what ways all these texts interact and overlap, and to what extent 'Mr. Howard's House' may act as a template for understanding Jean Rhys's creative process as a whole. [ABSTRACT FROM AUTHOR]

The theory and practice of Wikipedia has a common heritage with professional history. In spite of the project being very new, the number and variety of its authors and the ambivalence of academia towards it, Wikipedians have created an encyclopedia that upholds high standards of scholarship and encyclopedism. Simultaneously it provides universal easy access to knowledge. The policies and practices enacted by Wikipedia to achieve these standards are rarely unique. Facing the same challenges that encyclopedists, lexicographers, translators, librarians and archivists have before, it does not achieve a uniformly high standard but it is a new chapter in a very old book. This paper uses Wikipedia's articles to highlight practical means by which historians might engage with the project as a historical source and still maintain professional standards. Discussion pages, several associated paratexts and the statistics demonstrating article popularity are considered. Finally, there is a discussion about how historians can be directly involved in the Wikipedia project – by editing it. [ABSTRACT FROM AUTHOR]

The atrocities of Nazi Germany included the radical transformation of natural landscapes. At Ravensbrück (Brandenburg), a lakeside setting became the site of the largest women's concentration camp in Germany, processing approximately 159,000 inmates until 1945. Similarly, at Flossenbürg (Bavaria), a picturesque valley in the Oberpfälzer Wald housed a large concentration camp with approximately 100,000 inmates over seven years and a granite quarry to support Hitler's extensive construction programme. After the war, part of Ravensbrück became a Soviet Army base, while large sections of Flossenbürg were removed to make way for a new housing and industrial development. Along with other former camps (particularly Auschwitz-Birkenau), parts of these landscapes were developed into memorial sites that aim to provide a liminal experience for visitors – a 'rite of passage'. In attempting to regain a sense of place that evokes the trauma of the past, the landscapes of the memorial sites of Ravensbrück and Flossenbürg were recently altered to resemble their appearance in 1945. For visitors, however, the aesthetic experience of these landscapes lies in stark contrast to the narrative they encounter at both sites; they are surprised to see signs of life, objecting to modernisation at Ravensbrück or the existence of a supermarket next to the memorial site in Flossenbürg. This paper examines the transformative processes of these landscapes and explores how their liminality is constructed, experienced and challenged. Through empirical visitor research conducted at both sites, it provides a critical evaluation of the narrative given to visitors and suggests how these important sites can offer a more engaging 'rite of passage'. [ABSTRACT FROM AUTHOR]

This essay discusses the contributions of theater director Liuba Cid and Cuban theater company Mephisto Teatro, highlighting the group's Afro-Caribbean adaptation of Fuenteovejuna (2009). Cid interweaves elements of Cuban culture into Lope de Vega's baroque verse, incorporating the works of romantic poet José Martí, playwright Virgilio Piñera, and African-inspired religious rituals. More broadly, Cid's play reflects ongoing social processes of transculturation. The theories of Linda Hutcheon, Diana Taylor, and José Quiroga all elucidate how Mephisto Teatro's staging transforms Fuenteovejuna into a syncretic work of art that transcends national and regional boundaries as it brings to the fore transnational movements and global struggles involved in efforts to reverse processes of cultural destruction and social inequality. [ABSTRACT FROM AUTHOR]

This paper illustrates the significance of the palimpsest as a conceptual and representational tool to analyze urban transformations over time. Focusing on urbanization in Mumbai, India, this paper examines the growth of the service sector through the re-shaping of an urban periphery. Based on qualitative field-based research for ten months in 2015–16, I examine how Malad, formerly a periphery dotted with fishing villages became a service sector hub, and an area epitomizing Mumbai's urban modernization. Through a series of collages, I illustrate changes in Malad's urban morphology resulting from a long history of colonial and postcolonial land transactions that facilitated infill and land reclamation, and their acceleration since the 1990s. The layers of the palimpsest make visible the environmental and livelihood damage in the form of toxicity, reduced fish availability and loss of other environmental resources, otherwise absent in the dominant narrative surrounding Malad's transformation. Through the palimpsest, embodied environmental associations of livelihood and loss are uneasily juxtaposed with narrower neoliberal conceptions of sustainability that frame service sector development. I show how the palimpsest as an analytic can represent the power nexus embroiled in transforming urban environments with repercussions on urban ecological systems and erase embodied associations of indigenous communities. [ABSTRACT FROM AUTHOR]

This article explores and decodes the social experiences of the ruins of St. Paul's in Macau. The depictions of St. Paul's as a disruptive social space are elucidated by the concepts of heterotopia, palimpsest and liminality. As a palimpsest, Macau's ruins comprise a variety of concealed and superimposed semantic layers. One can read the ruins and decipher these semantic tiers. The reading of buildings as palimpsests recognises the paradoxical combination of their durable and transitory nature. St. Paul's ruins encompass several stratified discourses such as cultural, historical, aesthetic. All of them are deciphered in their multivalent configurations, revealing their overarching heterotopic quality. This article aims to display St. Paul's ruins as a culturally meaningful urban space of otherness within the ambivalent spatial realm of Macau while unfolding its disruptive nature. [ABSTRACT FROM AUTHOR]

Written at the height of the Second Intifada, Israeli anglophone poet Rachel Tzvia Back's On Ruins & Return uncovers the politics of Palestinian indigeneity and the material realities of occupation. Back evokes the near-extinct buffalo and crafts a "lyric palimpsest" to draw a line between settler colonialism in North America and Israel–Palestine. This article offers an overview of the understudied field of Israeli anglophone literature and its affinity to postcolonial and global anglophone discourses through an examination of Back's transnational mobility, the role of English as a colonial-turned-global language in Israel–Palestine, the architectural legacy of British colonialism in Jerusalem, and anti-colonial resistance. The article analyses Back's postcolonial lyric palimpsest in terms of its form, theme, authorial voice and audience, and argues that English-language writing challenges Israeli nationalism, while simultaneously underscoring the ongoing repercussions of colonialism. [ABSTRACT FROM AUTHOR]

Images used to promote Estonia both home and abroad frequently highlight the element of pristine nature, often represented by the mire. Mires have witnessed historical change that can be described from ecological, institutional and perceptional aspects; artistic representations of mires have been transforming as well. The article observes literary representations of mires, based on 80 Estonian works of fiction, thus tracing the Estonians' relationship with the wetlands surrounding them and discussing the position of the mire in the evolving Estonian identity. The works derive from the past century and a half—the period when both Estonian literature and the modern Estonian nation became established. The current prevailing values emerged due to environmental ideas and advocate protecting and visiting the mires that, although not having been part of Estonians' identity discourse historically, still constitute a facet in the image of Estonia as a country today. [ABSTRACT FROM AUTHOR]

Central Australia is widely characterised as a frontier, a familiar trope in literary constructions of Australian identity that divides black from white, ancient from modern. However, recent anthropological and literary evidence from the Red Centre defies such a clear-cut representation, suggesting more nuanced 'lifeworlds' than a frontier binary can afford may better represent the region. Using walking narratives to mark a meeting point between Aboriginal and settler Australian practices of placemaking, this paper summarises and updates literary research by the author (2011-2015), which reads six recounted walks of the region for representations of frontier and home. Methods of textual analyses are described and results appraised for changes to the storied representation of Central Australia from the precolonial era onward. The research speaks to a 'porosity' of intercultural boundaries, explores literary instances of intercultural exchange; nuances settler Australian terms for place, including home, Nature and wilderness; and argues for new place metaphors to supersede 'frontier'. Further, it suggests a recent surge in the recognition of Aboriginal songlines may be reshaping the nation's key stories. [ABSTRACT FROM AUTHOR]

The term palimpsest is sometimes used as a way of conceptualising historic cultural landscapes that have been subject to changes. This paper uses an expanded version of the palimpsest concept (a temporal collage intermingling memories with tangible and intangible elements from different time periods across a range of scales) to focus on a former military site on the Thames Estuary, which, after a period of dereliction, has been developed as a bird reserve. It examines different user interpretations of the present-day landscape in the light of its recent history and demonstrates how the physical traces and artefacts, the topography, memories and the relationship with the surrounding area all play a part in these interpretations. This landscape subverts a chronological reading and extends beyond the physical and temporal boundaries of the site enabling both the expert and non-expert to tell multiple and diverse stories with implications for landscape planning and design. [ABSTRACT FROM AUTHOR]

The article critically analyzes how historical narrative redesigns the past to serve the needs of present and construct a palimpsest that is subject to constant erasure and revision. The study chooses Jodhaa Akbar as one of the example to examine whether the cinematic representation is able to fully articulate the historiography of the past on to the postcolonial present and provide a linkage to the audience to identify and personalize the history. The findings graphically summarize the impersonation of the past on the screen by using Atlas.ti; a qualitative data analysis tool that put forth a holistic design of the History film as a mode of historical thoughts which in case of Jodhaa Akbar is attempted in the form of the nationalist narrative and as a measure bridging the communal cynicism. [ABSTRACT FROM AUTHOR]

This article focuses on two short stories, Edwidge Danticat’s ‘Epilogue: Women Like Us’, the final story in Krik? Krak! (1996. New York: Vintage Books), and Dionne Brand’s ‘Blossom, Priestess of Oya, Goddess of Winds, Storms and Waterfalls’, from Sans Souci and Other Stories ([1988] 1989. Ithaca NY: Firebrand Books). In these stories, Danticat and Brand narrate the lives of Caribbean women who have journeyed abroad in search of a better future, and the protagonists also continue to develop their respective identities through the challenges of leaving their homes. Danticat follows the life of a young girl, while for Brand it is a middle-aged woman who feels old beyond her years: the authors narrate versions of (historical) events from the perspective of these women, additionally (re)writing Caribbean history in feminist terms. Furthermore, treating the actual bodies of the narrators as living texts for the embodied experiences and oral stories of their ancestors, the protagonists become palimpsests in their current lives/life stories. This, in turn, affects their futures. While at times their matrilineal, ancestral voices may be a burden, they also provide a source of empowerment for the two protagonists, enabling them to pursue their chosen careers despite the barriers they face. [ABSTRACT FROM AUTHOR]

This article draws on the author’s 2009 tour of South Carolina’s Magnolia Plantation as a primary text to examine how nostalgia for the 19th-century plantation and the Lost Cause Confederacy continues to limit entangled understandings of the past. Plantation tourism reveals how participants negotiate the layers of the past and the present—bringing in new and tense forms of engagement with a dismissal of the past (and present), of consuming it, and of rewriting one’s heritage. These tours’ audience ranges from those haunted by the past to those who want to celebrate the ubiquitous idea of “the gallant South.” The erasure and containment of the site’s horror indicate how tour operators profit from redeployments of the South. The plantation’s architecture, particularly the Big House, reverberates as a site of symbolic, political, and familial power. These aspects of tourism, nostalgia, and memory illuminate the palimpsestic presence of the plantation in daily life. [ABSTRACT FROM PUBLISHER]

This paper reports on an intermedial pedagogy informed by Jacques Rancière’sIgnorant Schoolmaster(1991). Two case studies interrogate the creative application of notions found in intermedial practice, hypersurface and palimpsest, discussing student agency as rigorous, innovative and research-led. The emerging status of pedagogy in higher education calls for ‘teaching  …  to be identified with research activities in some direct way’ [D’Andrea, Vaneeta, and D. Gosling, 2005.Improving Teaching and Learning in HigherEducation – A Whole Institution Approach, 154. New York: SRHE]. Through a descriptive analysis of two case studies I will show how my own intermedial research activity informs the teaching and learning on the BA Performing Arts (Film, TV and Stage) programme at Buckinghamshire New University. [ABSTRACT FROM AUTHOR]

This article examines my current research, which is comprised of the making of a gallery installation film,Palimpsest. This film uses contemporary images of the everyday to contemplate events of the First World War as represented in a collection of unique, first-hand, unpublished letters sent home to London by mapmaker Rifleman Barney Griew.Palimpsesthas been commissioned byChanging the Landscape, a multimedia arts project developed by Sarah Kogan and supported from public finding by the National Lottery through Arts Council of England and was the first contemporary art exhibition at The National Archive, UK. My writing explores the process and methods of representing the past through contemporary spaces, and their configuration into a continuous biographical narrative denoting the journey taken by Griew. In illustrating the development of the film, I scrutinize the work of the New Topographic Photographers of the 1970s focusing on their representation of landscape, the images of Thomas Ruff and the Russian Formalists in regard to multi-image storytelling. These examples are examined to draw comparisons and evaluate the fostering of critical understanding. I conclude by discussing the importance of contemporary digital technology in shaping our perception of the past. [ABSTRACT FROM AUTHOR]

In light of the challenging developmental issues confronting the countries of Latin America, this response article analyzes the power and resistance of education for sustainable development from both theoretical and policy perspectives. Of particular concern are the neo-productivist strategies driving the latest stage of capitalist development. This needed discussion about education and development fluctuates between necessity and contingency. Derrida's concept of the “constitutive outside” accounts for how existing tensions within education for sustainable development inform the need for new identification models that are open, unsteady, incomplete, and relational. The constitutive outside also recovers the notion of “tragic optimism” (Santos, 2009) for clarifying the complexity of the struggle for emancipation and the confidence of the human capacity to create horizons of possibility. This confidence and capacity cannot be objectified from the impossible discourse (and palimpsest) of the texts/policies of education for sustainable development. [ABSTRACT FROM AUTHOR]

When confronted with a society and system of government that keeps changing the country’s political history, individuals like Judith Garfield Todd turn to memoir writing to challenge the new “patriotic history”, and to resist attempts to erase them from national history. In this paper, I argue that in her memoir, Judith Todd uses the authority of presence, epistemic privilege, erasure, palimpsest and converging voices to construct a new account of the discourse of the liberation struggle in Zimbabwe. In doing so, Todd challenges the Zanu-PF hegemonic discourse of the struggle, which is constructed along racial lines and is a deliberate move by Robert Mugabe’s Zanu-PF to create a complete ruin of the role played by the Todd family and the entire white community in the struggle for liberation in Zimbabwe. [ABSTRACT FROM AUTHOR]

Writing, according to Kristeva, is an act of plagiarism. We write palimpsests on top of other writing, acknowledging implicitly that we are derivative, that our work is intertextual, borrowed, sampled, ‘internalised’, ‘bowerbirded’ from other works. In my teaching of Creative Writing, I encourage students to intentionally ‘borrow’ in this way; in my own writing, I blatantly steal. It is what writers do. How different, however, is intertextual borrowing to copying other people's work and passing it off as your own? I will examine recent examples of writers who have been shamed and stripped of their awards because of their intertextual ‘borrowings’, and compare this to Kristeva's notion of text as a ‘mosaic of quotations’ as well as Roland Barthes's idea of text as ‘a new tissue of past citations’, and explore the fine line between plagiarism, palimpsest and intertextuality. [ABSTRACT FROM PUBLISHER]

This article considers black reflections on whiteness in some recent South African fiction, Julian de Wette's novelA Case of Knives(2010. Cape Town: Umuzi) and Zoë Wicomb'sPlaying in the Light(2006. Johannesburg: Umuzi). Central to these texts are elaborations on the idea of the quotidian. In these novels, everyday life appears through focalizing agents, which suggest how to intellectualize black people's dealings with the ethical dilemmas created by whiteness as a concept generated by apartheid's social engineering. The selected novels archive these accounts within the act of storytelling, especially as this is foregrounded in fantasy as a confidential ‘return’ to and an exorcizing of episodes of black depersonalization. Commenting on this type of reversion to the history of humiliation, the article relies on the image of the ‘return to the harbour’ – drawn fromA Case of Knives.The suggestion is also that each relapse highlights ‘fantasy’ as ritual which manifests itself in those discourses in which black people are heard or seen, in private, revealing claims about how they outmanoeuvred whiteness.A Case of Knivesdepicts these tactics in tragi-comic tones inclining towards satirical representations of apartheid's delineation of whiteness. By contrast,Playing in the Light, which also reflects upon these machinations, explores in a nuanced way the sense of devastation that afflicts black people upon discovering the long-term consequences of European colonialism on black women and their nuclear families. Throughout this article, emphasis is placed on showing that, as seen through the ideas of the ‘return’ and of ‘fantasy’, the concept of ritual is fragile and paradoxical. This is because the selected novels intimate that ritual is destined to be retold in the terms that present blackness as a quintessential nervous condition. [ABSTRACT FROM AUTHOR]

This paper explores the commonly used metaphor of the palimpsest prevalent in urban studies, and suggests that there are realities in the field that are overshadowed by the dominant use of the metaphor. Whilst the palimpsest is a useful metaphor to illustrate chronological superimposition or traces of the past that remain hidden, it is inadequate in describing sites that feature material, spatial and temporal juxtapositions. To remedy this gap, the paper introduces the concept of brecciation, inspired by Sigmund Freud, to provide an alternative means to consider how the accumulation of materials affects planning in the city. Examples from two specific sites in Rome illustrate how brecciation enhances an understanding of the sites and enables to evaluate the practices of urban heritage in recent urban initiatives. By way of conclusion, the paper highlights the benefits of engaging with a concept that reveals concatenations at a site, and suggests that further work on brecciation could be expanded to include the exploration of intangible entanglements. [ABSTRACT FROM AUTHOR]

Our fascination with the ambivalences of ruin shows little sign of abating. Taking as its focus the Baltic resort of Prora, this paper explores the particular ambivalences that arise when the East German socialist past inhabits the ruins of the preceding National Socialist dictatorship. Developing a theoretical approach to the ruin as palimpsest and heterotopia, I examine three types of intervention that have been made in the post-socialist present at this largely derelict and disused site: redevelopment; musealization; and photographic representation. In each case I consider, first, the strategies that stabilize the ruin in the present and, second, the processes through which the ruin persists as a more troubling and destabilizing force. Ultimately, I argue that the ambivalences of these ruins of dictatorship are increasingly being simplified and consolidated in the post-dictatorship setting, often at the expense of the socialist phase of the site. [ABSTRACT FROM AUTHOR]

The theatre of Ernesto Caballero is inherently postmodern. His works, which are intertextually and intratextually conceived and constructed, reject straightforward mimesis and neatly structured narratives in favor of textual interplay and a semiotic system to create a vital link to other works. Caballero'sPepe el Romano. La sombra blanca de Bernarda Alba(2003) is the one play within the playwright's repertoire in which his postmodern proclivity toward intertextuality is the most pronounced, intricate, complex, and sustained. Caballero's play shares a deep intertextual and intratextual relationship with Federico García Lorca'sLa casa de Bernarda Alba(1936), the text from which it formally derives, and which it thematically echoes and structurally replicates. Through an intricate network of allusions, references, character doubling, and metatheatrical conventions, Caballero reproduces the world created by Lorca inLa casa de Bernarda Alba. Like amise-en-abyme,Pepe el Romanois at once an original story and a retelling of what transpires in Lorca's play. Consequently, each work functions as a palimpsest given that traces of one text are visible in the other. To readPepe el Romano. La sombra blanca de Bernarda Albaor view it on the stage is to engage in intertextual discourse withLa casa de Bernarda Alba. Conversely, to read Lorca's play or view it on the stage is to read or view Caballero's. [ABSTRACT FROM AUTHOR]

This article has two purposes. The first is to bring current developments in neuroscience, including educational neuroscience, to the attention of historians of education. The second is to demonstrate how historians of education, in common with philosophers, psychologists and sociologists, can contribute to this new field. Education has replaced natural selection in human evolution. Symbolic representations, speech, memory, writing, printing, screen-based communications and various mood-changing activities have shaped and are continuing to shape the human brain. It is argued here that by taking a longer historical perspective and recognising the brain as a palimpsest or kluge, historians of education can help to explain the limitations of neuroplasticity and some of the fundamental problems that beset formal educational systems. Just as education needs to be afforded a more central role in the history of human evolution, so the brain needs to be given a more central role in the history of education. [ABSTRACT FROM AUTHOR]

‘Writing the city’, particularly writing the city of Johannesburg, in post-apartheid South African fiction can be considered as a new approach to interpreting South African culture, a new approach that takes into consideration and reflects the changes taking place in present-day South African society. Texts written on Johannesburg such as Kgebetli Moele's Room 207 (2006. Cape Town: Kwela Books) and Ivan Vladislavić's The Restless Supermarket (2001. Cape Town: David Philip) are utilizing the subject matter and everyday life of the city as an ‘idea’: a means of expressing societal concerns and other important changes taking place in the country as a whole. This article will identify and consider how depictions of the city of Johannesburg are being altered and modified in contemporary South African literature, and will show the ways in which the narratives reveal how transformation is narrated and how this changes in post-transitional South African fiction. Topics such as the depiction of Johannesburg as a palimpsest, as a conflation of historical moments – past, present and future – will be explored. Reasons as to why this change is taking place, and why this reinvention of the city of Johannesburg in fictional works is essential, will also be discussed. [ABSTRACT FROM PUBLISHER]

The underlying surface of the palimpsest in question is not physical. Instead, it is constituted by the events and persons of the Spanish War of Independence from Napoleonic France. Although this period officially extends from 1808 to 1814, the epoch-making Battle of Trafalgar in 1805 initiates the period for many historians as well as for the novelists Benito Pérez Galdós and Arturo Pérez-Reverte. Onto this surface, then, from 1805 to our own days, narratives have been and continue to be created: some in words (lexical representations), some in images (graphic representations), and some in hybrid graphic-lexical, as well as in filmic, versions. Commonly those who come later in the process are very familiar with earlier representations. Over both them and the underlying historical events and persons these later "painters" create their own narratives of all or part of the 1805–14 period. This article centers on the narratives of Galdós and Pérez-Reverte as especially prominent layers of the palimpsest of the war while contextualizing their layers of the palimpsest onto a canvas that includes the contributions of Francisco José de Goya and the Count of Toreno. [ABSTRACT FROM AUTHOR]

This paper examines the effects of global change on the status and qualities of the Greek national capital, Athens, focusing on how they affect the development of cultural tourism in the city. Although Athens constituted one of the most significant destinations for Greek tourism in the past, in recent years it started to weaken. Athens is characterised by a series of problems, among them are the degradation of its environment and quality of life and traffic congestion. However, in terms of tourism development, the Olympic Games helped in re-imaging the city and upgrading its infrastructure. This study based on semi-structured interviews with top officials reveals how global change has affected Athens’ socio-cultural/economic status, identity and image. Despite the tourism policy/planning responses to global changes, Athens’ tourism continues to decline leaving unexplored potential such as its rich cultural heritage, new multicultural identity and the New Acropolis Museum. The paper suggests that cultural elements of capital cities must be multidimensional including a variety of attractions and amenities. The use of cultural heritage assets needs to be in line with global developments in order for cities to effectively leverage heritage for cultural tourism. [ABSTRACT FROM PUBLISHER]

In his travel journal classic, L'Afrique fantome (1934), after a year of travel through sub-Saharan Africa, the French writer and ethnographer Michel Leiris listed a group of texts under the simple heading 'African imagery'. The author never explicates the meanings of the imagery thereby giving the reader the opportunity to reflect on their possible implications, or to leave them as they are. The aim of this paper is to examine the indications of this heterogeneous list, and its framing in the travel journal, as a palimpsest that states itself, but that also has the potential to call into question the writer's prior knowledge of Africa. Moreover, the paper sets the list's contents in relation to Leiris's other writings so as to tease out some finer implications of the specific textual 'ambience' to which the author refers as he presents the inventory of African imagery to his reading public. [ABSTRACT FROM AUTHOR]

This paper begins by reviewing conventional understandings of the historical and archaeological record and questions the lack of problematizing the nature of time in relation to the archive. Drawing on the concept of memory in both mental (testimony) and material terms (trace), the paper argues that we need to address the temporal paradox at the heart of any archive, namely the continuity of the past into the present. Using the concept of palimpsest, the materiality of memory as trace is then explored as a way to understand the intersection of objects and events - and their residues. It is proposed that the trace produces a very different historical ontology to testimony, one that requires different kinds of narrative. Specifically, the residuality that is implicit in the concept of trace references an interia or resilience in the material world where preservation and destruction - memory and forgetting - are entangled with degrees of reversibility to the order of things. [ABSTRACT FROM AUTHOR]

This article focuses on the various forms of crime narratives found in selected works of Peter Ackroyd which are concerned with the city of London. Its aim is to show their function in the context of the author's narrative strategy and thematic composition, specifically discursive pluralization, intertextuality and the conception of the city as a text. It also shows how the subversion of these narrative principles induces the hybridization and consequent invigoration of the historical novel genre. In order to illustrate the ways in which Ackroyd incorporates elements of crime narratives in both his fiction and non-fiction works this essay focuses on: Hawksmoor (1985) and Dan Leno and the Limehouse Golem (1994) in conjunction with the 'biography' of Dickens titled Dickens (1990) and London: The Biography (2000). [ABSTRACT FROM AUTHOR]

Ever since the Partition, novelists on either side of the India-Pakistan border have used fictional space imaginatively to formulate discourses on a humanistically-centred, multiplistically-defined Other identity, which writes itself into existence through the prism of the novelists' contextual present. In this article, I will focus on three partition narratives: Salman Rushdie's Midnight's children (1980), Bapsi Sidhwa's Ice candy man (1988) and Amitav Ghosh's The shadow lines (1988). By employing different modes of knowledge, the novelists draw out the micro-history embedded within the historical event, and resonate the voice of the Other, a creation of partisan politics. Bapsi Sidhwa appears as a social historian who perceives the event through the eyes of an eight-year-old Parsi girl Lenny; Amitav Ghosh, akin to a modern historian, focuses on rigid and illusory territorial divisions from Thamma's (grandmother's) perspective; while Salman Rushdie emerges as a postmodern historian who draws attention to the ambiguity and opacity of both historical and fictional knowledge through Saleem Sinai, born on the day India won her independence. History, as it is perceived by the Other - each belonging to a different generation - is a palimpsest: it is always in a state of becoming, of being lived, evaluated and rewritten. Fiction, as it interprets the historical knowledge, fills in the fissures and absences between the history of the past and that of the present. The article will eventually study how fiction and history inform each other, and how the rhetoric of fiction and history together constitute a dialectical discourse on identity - mapped by borders - which sees a convergence of private and collective memories. [ABSTRACT FROM AUTHOR]

Deposits in caves and rock-shelters typically occur in the form of low-resolution palimpsests or time-averaged deposits, resulting from the superimposition of repeated and variable episodes of occupation, low rates of sedimentation and mixing by natural and anthropogenic processes. Despite the development of an impressive array of analytical techniques to disentangle these palimpsests into their constituent episodes of occupation, high resolution chronologies and detailed snapshots of activity areas and spatial organization have proved elusive. Here we suggest that, rather than seeing palimpsests as a problem, we take them as they are, as mixtures of materials that may have been actively recognized as such by the prehistoric occupants and deliberately enhanced, providing both physical resources that could be recycled for subsequent use and material cues for a sense of time and place. We illustrate this approach through a comparison of the spatial and material structure of four Upper Palaeolithic cave deposits in Southeast Europe, focusing on hearths and hearth-related distributions of material as clues to the active role of palimpsests in determining the use histories of different places. [ABSTRACT FROM AUTHOR]

In The True Story of the Novel, Margaret Doody explains that among the Greek rhetoricians of the Second Sophistic, ekphrasis had acquired the specialised sense of 'exploring and explaining (supposed) graphic works' (1998). This paper will explain how Daphne du Maurier's The Flight of the Falcon (1965) could be said to be a modern variant of this ancient device. In du Maurier's novel, Armino Donati becomes haunted by two Renaissance paintings. These have been fixed in his imagination from childhood by the force of personality of his elder brother Aldo. The Flight of the Falcon thus becomes, in effect, an extended ekphrasis on two works of art-the 'Raising of Lazarus' and the 'Temptation of Christ'. This essay will explore the novel as a whole through the overt (Christian) themes provided by these paintings, but will also draw on the hidden subtext of Greek archetypal images (in particular Apollo, Dionysus and Hermes) that the novel seems to imply. It will become apparent that I am viewing these imagined paintings (and the novel itself) as palimpsests, whereby a heterodox, pagan message has been obscured by a dual layer of heterodox and orthodox Christian ideas. My analysis will utilise ideas from Plato's The Republic concerning the parable of the cave, Luce Irigaray's criticism of 'Plato's Hystera' in Speculum of the Other Woman and the thoughts of Nietzsche on Greek mythology as expounded in The Birth of Tragedy. By way of conclusion, I will raise some of the metatextual ideas hinted at by the subtext, which can be gleaned if we view the (supposed) artworks as substitutes for du Maurier's own literary output. [ABSTRACT FROM AUTHOR]

Recently, archaeologists have become increasingly interested in the study of visual relationships within past landscapes and buildings. However, our approaches and techniques of visual analysis often apply modern ways of thinking about sight and space to the pre-modern past, thereby ignoring important debates in other disciplines about the historicity of these concepts. Using the case studies of two schemes of medieval wall paintings in Pickering church (North Yorkshire) and the Guild Chapel, Stratford-upon-Avon, England, this paper argues that archaeologists should engage more critically with this issue. Throughout, the idea of a "palimpsest" is used, both as a metaphor for the physical layers of plaster which overlie medieval wall paintings and as an analogy for the process of archaeological interpretation itself. [ABSTRACT FROM AUTHOR]

This article re-examines Frantz Fanon's radicalization of psychoanalysis in Black Skin, White Masks , highlighting his conception of the cultural as the site of racial trauma. Taking up Jean Laplanche's notion of the ‘enigmatic message’ while recontextualizing it in a broader cultural field, Laura Christian elaborates a model of racialized ‘retrospectatorship’ from Fanon's accounts of his traumatic encounters with the cinema's racial phantasmatic. The concept of retrospectatorship in turn illuminates Issac Julien's short film. The Attendant (1993), which explores not only the traumatic but also the fantasmatic reverberations of the enigmatic message issued from the place of the white Other. Juxtaposed with Fanon's text, Julien' film also serves as intervention against the latter's homophobia and misogyny. [ABSTRACT FROM AUTHOR]

Henry James's "The Jolly Corner" and Gore Vidal's memoir "Palimpsest" both ponder and play upon the idea of alternative life stories and how these unrealized "texts" of a life still influence the realized "texts." In both of these works the realized/unrealized issues exists between men, yet both authors employ women in minor but pivotal roles as catalysts for understanding and linkage, both inwardly with alterative selves and outwardly with the universal experience of loss. [ABSTRACT FROM AUTHOR]

The 2000 Olympic Games were a conduit for change in Sydney, including the construction of a super-yacht marina in Rozelle Bay. Using this marina as an entry point, notions of landscape/waterscape and environmental history (including the discourses of planning for the Olympic Games and maintaining a 'working harbour') are developed to explain what environmental changes have occurred, been rejected and why. [ABSTRACT FROM AUTHOR]