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Solicitation was the theme of David Wills' keynote at the Derrida Today Conference in London in 2016. As an after-echo of that event, at the Derrida Today Conference in Athens in 2024, this postcard stages a solicitation of David Wills by way of some of the key themes in his work from Prosthesis to Killing Times and in conversation with the ideas of thinkers he reads, including Derrida and Cixous. Solicitation is thrown into deconstruction, with the suggestion that Wills' thought might in turn come to tremble. [ABSTRACT FROM AUTHOR]

This essay demonstrates the value of postcards as visual evidence for historical research. Focusing on midcentury hotel and motel postcards, it offers a brief history of postcard production technologies and techniques and explores visual strategies they employed. While analyzing these images, the essay also considers how postcards deleted certain aspects of the scenes they depicted, rendering unpleasant objects invisible to the observer. Therefore, this essay argues that what is absent from the image is as significant as what is present. [ABSTRACT FROM AUTHOR]

This article provides a historical introduction to chromolithographic printing in the Maghrib, paying special attention to the role of print in the spread of vernacular iconographies and figurative forms of Islamic art. I focus on five postcards – all produced in Algeria before 1928 by Éditions Bonestève – whose vibrant illustrations depict a variety of figures, creatures, and narrative scenes. They act as windows onto a huge visual archive of printed matter from the 19th and early 20th centuries that remains understudied in both the literature on colonial visual culture and Islamic art history. Perhaps due to their explicitly religious iconography, what is often overlooked about these chromolithographic images is how they were co-produced by European and North African actors and consumed by diverse markets of Muslims and non-Muslims alike; understanding them as fundamentally hybrid is crucial to appreciating their full mobility, their widespread aesthetic and political influence, and their ability to be read in diverse and sometimes contradictory ways. Ultimately this article challenges the dismissive label 'images populaires', while also asking whether a new reading of certain images as 'popular' and 'Islamic' is in fact possible if we look to their historical (re)appropriations within different communities, geographies, and political or artistic movements. [ABSTRACT FROM AUTHOR]

Starting in 2017, the Kislak Center at the University of Pennsylvania has collected postcards dating from the late nineteenth century that depict Indo-Caribbean life and culture in Trinidad, British Guiana, Suriname and Jamaica. From village scenes to Indo-Caribbean women in studio portraits, the bodies featured in these postcards appear in ethnographic views to promote perceptions of Indo-Caribbeans as being exotic and different. However, as I demonstrate, these postcards are valuable pedagogical tools to help students appreciate how race is constructed visually across locations and time. Drawing upon my use of this postcard collection in the past six years in my course on 'The Asian Caribbean', I will discuss how I prepare students to critically read Indo-Caribbean bodies featured in these postcards. From learning the history of indenture in the Caribbean to looking at similar colonial representations from the South Asian subcontinent, the students better appreciate how colonial ideologies of race, gender and progress are produced and reinforced through the visual. [ABSTRACT FROM AUTHOR]

The essay analyzes the postcards by Anselmo Ballester, the famous painter, illustrator, and poster designer. His postcards are analyzed in their double role of ephemera of his personal collection, and paratexts created for his clients, in the period between the silent era, until the 1950s. The assay will examine only a limited number of postcards when compared to the extent and variety of his artistic production. The subject of our investigation will be the postcards included in the Anselmo Ballester Fund, preserved at the Centro Studi e Archivio della Comunicazione - CSAC - of the University of Parma. Comparing cine-postcards, preparatory sketches, and posters from the Ballester collection, spanning a period of fifty years, we will focus on how photographic postcards of national and international movie stars, represented the main models for the painter, aimed at creating an iconography consistent, and adaptable to multiple cinematographic genres. We aim to demonstrate how two ephemeral materials can be juxtaposed, becoming both a source and a model on which a new cinematographic paratext can be developed.

The official discourse during the communist regime in Romania (1948–1989) has not been paid much attention by researchers and the official visual discourse, addressing adults and children, even less so. My study aims to address this research gap and identify the identity markers of the Romanian territory during socialism by exploring spatial representations and the territorial identity that were produced through official visual imagery. Using qualitative discourse analysis and critical visual methodology, I analyse the visual construction, through discourse, of themes and places created starting with the 1950s and were featured repeatedly during the 1970s and 1980s Romania (the period of national communism), and which constructed and highlighted traits of the country’s territorial identity. To achieve the research aim, I explore three types of research materials and ways of realising spatial education and socialisation through (propaganda) images or a visual pedagogy of space: (1) photographs in three textbooks about the Geography of Romania – a tool in educating people’s representations of their homeland, (2) official (state-produced and distributed) picture postcards reflecting progress during socialist Romania, and (3) comics about work and class identities in Cutezătorii [The Daring Ones] youth magazine – a tool in the edutainment of Romanian communist pioneers. These three official visual discourses were part of a coherent cultural visual discourse about the socialist nation, pervading representations about Romania, about its urban area, and about who the Romanians were meant to have been. This plural discourse was constructed through the visual intertextuality of these three widely distributed media. [ABSTRACT FROM AUTHOR]

The article "Continuing the story of the Thomas Welsby Library - from the 1990s to the present day" in the Queensland History Journal discusses the expansion of the Thomas Welsby Library, focusing on its collection and the volunteers who contribute to its excellence. The library aims to preserve, maintain, and modernize its historical collection, which has been moved multiple times since 1981. The collection includes donated items, rare books, vertical files, cutting books, archive boxes, photographs, and digital resources, with a focus on digitization and research services. The library relies on volunteers, including experienced historians and students, to carry out its projects and maintain its standard of excellence in preserving Queensland history. [Extracted from the article]

Building on geographic scholarship around disability and drawing on a programme of arts-based research, we bring attention to the social and cultural geographies of families affected by rare disease. Seeking creative methodological opportunities, we invited families to send us postcards as a means of sharing experiences and reflections. We contextualize the emergence of the postcard as a modality of communication, situating our work within a wider epistolary and artistic tradition, before examining the opportunities postcarding might produce for geographic and broader qualitative research, noting the forms conduciveness to multimodality and recent calls for more engagement with the medium. We detail our own practices of participatory postcarding and the questions, challenges, and hopes such raised. Analysing the postcards received, we discuss how such helps understand the shifting social and cultural geographies of rare disease, reflecting on themes of (in)accessibility and exclusion, changing domestic geographies, and the importance of, and challenges associated with, family-based identities and communities in the context of rare disease. Such highlights opportunities for disability geography to engage in cross-cutting conversations and agenda-building with the nascent area of family geographies, along with further geographic inquiry into the spaces and worlds of rare disease. [ABSTRACT FROM AUTHOR]

Copyright of Pasos: Revista de Turismo y Patrimonio Cultural is the property of Universidad de La Laguna, Instituto Universitario de Ciencias Politicas y 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.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

The article was inspired by the discovery of a 1939 postcard from E.W. Swanton, found in his plant galls textbook, responding to a gall inquiry from naturalist C.P. Hurst. Topics include Swanton's identification of oak leaf galls, historical insights into botanical terminology; and the personal connection between Swanton and Hurst as naturalist correspondents.

Copyright of DEPARCH Journal of Design Planning & Aesthetics Research is the property of DEPARCH Journal of Design Planning & Aesthetics Research 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.)

On the basis of individual East Asian objects from small Slovenian towns, which were not the subject of the collecting practices in Slovenia organised so far but were in the possession of individuals and used or held in a certain family, we will reconstruct a picture of the cultural and material connections between the Slovenian southwestern municipality Ilirska Bistrica and the East Asian region. We are particularly interested in who their owners were and what kind of East Asian objects they kept in their homes. Can we speak of “typical” East Asian objects in Slovenian households? The subject of this research will mainly be objects from the late 19th and the beginning of the 20th centuries, which coincides with the period when the most representative Slovenian collectors, such as Alma Karlin (1889‒1950), Ivan Skušek Jr. (1877‒1947) and Ivan John Jager (1871‒1959), gathered objects that today form the bulk of the East Asian collections in Slovenia.

Many aspects of intangible cultural heritage have associated objects of material culture that augment or enable aspects of intangible heritage to be exercised or emphasized. Christmas markets have been publicized as the quintessential event in Germany leading up to Christmas, with the over 2000 locations attracting large numbers of local, domestic, and international visitors. From their origins as mercantile venues during the medieval period, Christmas markets have evolved into multisensory social and experiential events, where the acquisition of Christmas decorations or gifts has been supplanted by the consumption of mulled wine in a social setting. Christmas markets represent intangible cultural heritage staged in ephemeral surroundings. While the abundance of material culture in Christmas markets is widely understood, this focuses on the objects offered for sale at the markets, rather than the objects that characterize a Christmas market and enable its functioning. This paper provides the first comprehensive assessment of the portable material culture associated with the German Christmas markets, covering objects as diverse as payment tokens, lapel pins, special postmarks, beer mats, and commemorative cups issued for the consumption of mulled wine. These objects, as well as numerous other manifestations of material culture, are discussed in the wider framing of the materiality of the markets, examining their ontological qualities within the multiple spheres in which these objects attain meaning (i.e., personal, event, social, and public spheres). It demonstrates that the wide range of alienable material culture associated with German Christmas markets has different manifestations of materiality, depending on the viewpoint of the user (i.e., participant, vendor, organizer), and these manifestations have different expressions of representativeness. On this foundation, this paper examines the various groups of portable and alienable material culture and discusses them in terms of their authenticity and to what extent these are representative of German Christmas markets. While all items have a connection with Christmas markets and function as symbolic shorthand souvenirs, commemorative cups issued for the consumption of hot drinks as well as the deposit tokens associated with these are both genuine and authentic and are also representative of the conceptual, social, and experiential dimensions of the event.

This article focuses on analogue postcards as a communicative and artistic tool for potentially engaging nostalgically with the past, present, and future. It poses questions about the experience of time and place in a specific setting (the city of Montreal, Canada), as well as in a specific project that looks at cultural mediation in public spaces. During the summer of 2017, Comptoir public, an organization that works with artists and cultural mediators, launched the project "Postes du futur" (Mail from the Future). The organizers asked Montrealers to write a postcard to a recipient of the sender's choosing, so that it will be mailed in 2042 during the celebration of Montreal's 400th anniversary (i.e., 25 years later). One of our main findings is that most of these postcards will be sent to the current addresses of future recipients. Choosing one's home as one of the settings to write to and to write about finally made it possible to connect to the historical and medical meaning of nostalgia: the homesickness, the yearning for a place of one's own, for a space we now miss prospectively on in the future. Home, where people live their lives, is not yet "lost" or "left behind." But anticipating its loss and transfer to others becomes one of the primordial factors shaping instantaneous nostalgia and its expression—a future in which postcard senders are no longer present or even alive. The issue of the finiteness and the irreversibility of time is usually an indicator of past-oriented nostalgia. In our case, it is projected toward the future. The printed, analogue postcard becomes the writing space that leaves room for anticipated and anticipatory nostalgia and for imagining future communication technologies. [ABSTRACT FROM AUTHOR]

Annie Proulx constructs a covert feminist narrative line in her debut novel Postcards with female minor characters. Focusing on the "historical gap" between the waning of the first wave of the feminist movement and before the rise of the second wave of feminism, Proulx examines the experience and differentiation of American women in the industrialization and urbanization movements. Strongly influenced by the "Annales School," Proulx uses the quintessential cultural totem of 20th-century America, the automobile, as "new historical material" and a key entry point into the fluctuations of the American feminist movements. The three female characters in the story, Billy as "the Beauty in the Car," Mernelle as "the Motorcar Bride" and Pearl as "the Mechanical Earth Mother," correspond respectively to women of consumerism, women of the "affluent society," and post-war modern professional women. Pearl's final death from a car accident not only serves as Proulx's warning about "industrial progress" but also reflects her contemplation on the failure of the second wave of feminism. [ABSTRACT FROM AUTHOR]

Background: Student transition to university can be a challenging time. Research suggests that providing space for student reflection and goal setting may facilitate this period of transition. Objective: I describe the Postcard to my Graduating Self Project, in which psychology students were invited to write postcards to their future selves. In the postcards, students were encouraged to reflect upon their goals and plans for their psychology degree. Method: I ran the Postcard Project as part of an induction program of a BSc Psychology undergraduate cohort. One hundred and sixty-six undergraduate psychology students completed postcards. Results: In my reading of the postcards and experiences of running the session, students appeared to use the postcard project as (1) a motivational tool, which prompted thinking about future goals, (2) a reflective device, which encouraged reflecting upon previous experiences, (3) and a social experience, which brought students together in unique ways. Conclusion: Facilitating students' writing postcards to their future self may foster social connections and provide educators with richer insights into the student experience. Teaching Implications: I provide tips for conducting this project in other institutions and encourage educators to consider using the Postcard to my Graduating Self Project. [ABSTRACT FROM AUTHOR]

The article focuses on M HKA's "Dispatches" postcard project for the Kyiv Biennial 2023, which invited artists to address political, social, and cultural challenges through art during wartime and its aim to foster international solidarity in facing contemporary global challenges.

Many aspects of intangible cultural heritage have associated objects of material culture that augment or enable aspects of intangible heritage to be exercised or emphasized. Christmas markets have been publicized as the quintessential event in Germany leading up to Christmas, with the over 2000 locations attracting large numbers of local, domestic, and international visitors. From their origins as mercantile venues during the medieval period, Christmas markets have evolved into multisensory social and experiential events, where the acquisition of Christmas decorations or gifts has been supplanted by the consumption of mulled wine in a social setting. Christmas markets represent intangible cultural heritage staged in ephemeral surroundings. While the abundance of material culture in Christmas markets is widely understood, this focuses on the objects offered for sale at the markets, rather than the objects that characterize a Christmas market and enable its functioning. This paper provides the first comprehensive assessment of the portable material culture associated with the German Christmas markets, covering objects as diverse as payment tokens, lapel pins, special postmarks, beer mats, and commemorative cups issued for the consumption of mulled wine. These objects, as well as numerous other manifestations of material culture, are discussed in the wider framing of the materiality of the markets, examining their ontological qualities within the multiple spheres in which these objects attain meaning (i.e., personal, event, social, and public spheres). It demonstrates that the wide range of alienable material culture associated with German Christmas markets has different manifestations of materiality, depending on the viewpoint of the user (i.e., participant, vendor, organizer), and these manifestations have different expressions of representativeness. On this foundation, this paper examines the various groups of portable and alienable material culture and discusses them in terms of their authenticity and to what extent these are representative of German Christmas markets. While all items have a connection with Christmas markets and function as symbolic shorthand souvenirs, commemorative cups issued for the consumption of hot drinks as well as the deposit tokens associated with these are both genuine and authentic and are also representative of the conceptual, social, and experiential dimensions of the event. [ABSTRACT FROM AUTHOR]

Copyright of Zeszyty Artystyczne - Uniwersytet Artystyczny im. Magdaleny Abakanowicz w Poznaniu / Abakanowicz University of the Arts in Poznan is the property of Wydawnictwo PWSSP 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.)

In the collection of the Rui Barbosa house, there are letters sent by Murilo Mendes (1901-1975) to João Cabral de Melo Neto (1920-1999), written between 1943 and 1975. The epistolary, still unpublished, consists of 147 pieces, including letters, notes and postcards and brings countless information about the poetics of the two authors, about the intellectual exchange between them, about the genesis of their texts, in addition to biographical data that is still little known. Trough letters, Murilo sends his texts to his friend to evaluate and, at the same time, exercices his critical side by giving advice or proposing changes. The objective of this essay will be to reconstruct the fruitful debate held between the two poets, emphasizing the operation of exchanging texts submitted to critical reading and the reciprocal suggestions for modifications during the beginning of Murilo Mendes' Italian phase (1957-1975). These elements bring countless information about the process of creating the works of the two authors, also taking into account the large network of readings and intertextual references. [ABSTRACT FROM AUTHOR]

This paper is divided into two parts: the first presents a summary of the history of macroseismic collection data in Italy, from an initial experience in the mid-19th century, to the beginning of the use of macroseismic postcards and their evolution in the first decades of the 20th century; the second part analyses a number of specific aspects of the content of macroseismic postcards. An example of the reading difficulties that these postcards pose is illustrated together with a brief comparison between the Mercalli and Mercalli-Cancani-Sieberg scales, which serve to interpret macroseismic postcards. Both the historical and analytical parts of the paper, aim to improve the comprehension of the sources and, consequently, the knowledge on Italian seismicity. [ABSTRACT FROM AUTHOR]

This article analyzes the experiments for hail suppression by means of exploding rockets in Italy, where a remarkable national program of active defense was undertaken in the period 1950–70. The history of the trials of this technique is reconstructed in view of highlighting the methodological flaws of the entire experimental approach. A supplementary source of information is offered by about 1,600 "storm postcards": reports sent back by farmers after single weather events. An archive of these postcards, recently collected, digitized, and analyzed for the Trentino region (northern Italy), offers an interesting glimpse into the scientific and pseudoscientific approaches to a difficult to predict and volatile phenomenon, both for farmers and for appointed experts. [ABSTRACT FROM AUTHOR]

Co-editor of the Journal of Indentureship and its Legacies, Amar Wahab, interviews Dutch-Surinamese visual artist, Nazrina Rodjan, about her recent exhibition, Kala Pani:1873–2023, which creatively intervenes in discourses about race, gender, queerness and indentureship in the Netherlands. Rodjan's work is a critical response to the gendered racism within the Dutch archives and artworld, including its silencing of indentureship and its legacies. As such, the artist's work is focused on 'telling the stories and amplifying the voices of underrepresented communities,' to counter the racism that is embedded within Dutch nationalism and homonationalism. [ABSTRACT FROM AUTHOR]

In this paper we examine and critique adaptive management (AM) practices for protected areas (PAs), in pursuit of practices that can account for more-than-human relations. Engaging with empirical research from Australian PAs, we reflect on the formation of PAs as "exceptional places" where Nature is implicitly/explicitly to be controlled. We find that AM practices harness the spatial and temporal characteristics of the PAs to deliberatively construct a static and timeless scene, creating a particular vision of Nature. This metaphoric vision is captured "like a postcard." It reinforces and justifies static protectionism as Nature conservation, arraigning a series of material objects that are meant to assist with maintaining that image: that "reality." Using sentipensar as an exemplar, we explore and highlight relational and everchanging human-nonhuman engagements to contest the ontological dimensions of a static Nature and ideas of control and power associated with the binaries of Nature and culture. [ABSTRACT FROM AUTHOR]

For a long time, I have been interested in belonging: in how we are forced but also need to belong in communities, in how collective identifications form our subjective identities, in how belonging is the subject-matter of our very sense of self. I have also been interested in un-belonging, in what happens to us when we are refused or choose to refuse a collective affiliation, in the dynamic of alienation, betrayal and freedom that ensues. The paper delves into these themes by journeying through the landscape of my own difficult belonging in the land where I was born: Israel-Palestine, sunk these days in a state of catastrophic war; my experience of belonging as it is being negotiated in my own analysis, carried over the phone between Tel Aviv and New York. It is a personal-theoretical postcard from a place of existential crisis but also hope. [ABSTRACT FROM AUTHOR]

This article discusses a themed issue of the journal Strategic Organization that focuses on organizational learning. The issue includes articles that explore learning from academic and business perspectives. The first two papers provide new tools for researchers to reflect on their research assumptions, while the remaining articles examine how organizations manage tensions and competing demands. The collection of articles offers insights into the ongoing journey of organizational learning. In one of the articles, Ugur N. et al. explore the concept of exploration and exploitation in organizations and propose a new approach using text-based indicators to measure these phenomena. Their analysis of company reports reveals certain linguistic patterns that can indicate exploration or exploitation. This research provides valuable insights for understanding and measuring these important organizational processes. [Extracted from the article]

How can we see beyond colonialism? And how might we be able to apprehend the work of those who saw themselves as living and creating the strictures of imperial control? This article argues for an uncolonial approach to knowledge creation, rejecting imperial history's endless desire to uncover new bodies of evidence, which largely replicate our existing understanding of the ways in which Europeans subjugated Others. Instead, it argues for the ethical imperative of locating lost, forgotten, or erased scripts of Indigenous being and agency that lie largely unexcavated in our archives of the imperial moment. Using a case study of so-called "Bāb Art" from 1920s CE Algeria, the essay explores the manner in which unloved, rough, and ephemeral modes of art possess the potential to serve as touchstones through which we might see unconquered forms of thinking, imagination, and belief that presently lie outside the bounds of our human story. In considering the spiritual and aesthetic significance of these works, it is argued that we are able to open up new vistas, which allow for glimpses of futures that begin again from threads long thought lost to the past. [ABSTRACT FROM AUTHOR]

Postcards, as ‘travelling communication devices’, have been identified as excellent tools for their ability to collapse ‘the field’ in a new, visually experiential way. Though often presented as a (post)colonial medium that has exoticized ‘the other’, they may also be able to give snapshots of diverse biographies otherwise silenced, and can therefore be utilised as a form of collaborative ethnography. This paper analyses postcards sent from Venezuelans living in Bogota during the pandemic. It will suggest that when migrants express lived‐experience via postcards, the coloniality of the medium is challenged and reimagined as collaborative ethnography. [ABSTRACT FROM AUTHOR]

The article discusses the John F. Bradbury Postcard Collection, which was donated to the Rolla Research Center by Bradbury's family after his passing. The collection consists of over four thousand postcards, primarily focusing on Missouri and the southern section of the state. Many of the postcards feature images of railroads, including the St. Louis-San Francisco Railway Company, as well as other subjects such as Route 66, local businesses, and tourist attractions. The postcards provide valuable information about the history of railroads in Missouri, including the towns that were established along the railroad lines and the impact of railroad construction on job opportunities and migration. The article emphasizes the importance of postcards as historical artifacts and their ability to provide insights into the past. [Extracted from the article]

Copyright of LC. Revue de Recherches Sur Le Corbusier is the property of Universidad Politecnica de Valencia 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.)

The promotion of health and its protection is carried out in various ways. Philately, collecting, and professional knowledge, not limited to stamps, also utilize objects that were once very popular and commonly used in correspondence — postcards. The article compiles information on the issuance of postcards by the Polish Post from 1919 to 2022, related to the broadly understood issue of health. There is room here for figures such as doctors, researchers, and discoverers of modern methods and phenomena, for the celebrations of institutions dedicated to protecting health, for important events (congresses, first surgeries and procedures), and for social phenomena. Referring to them is intended to raise awareness and expand human knowledge, for example in the field of prevention.