Missing Links, Cultural Modernity and the Dead: Anatomically Modern Humans in the Great Cave of Niah (Sarawak, Borneo)

The Great Cave of Niah in Sarawak (northern Borneo) came into the gaze of Western Science through the work of Alfred Russell Wallace, who came to Sarawak in the 1850s to search for ‘missing links’ in his pioneering studies of evolution and the natural history of Island Southeast Asia and Australasia. The work of Tom and Barbara Harrisson in the 1950s and 1960s placed the Great Cave, and particularly their key find, the ‘Deep Skull’, at the nexus of the evolving archaeological framework for the region: for decades the skull, dated in 1958 by adjacent charcoal to c.40,000 BP, was the oldest fossil of an anatomically modern human anywhere in the world and thus critical to ideas about human evolution and dispersal. Although several authorities later questioned the provenance and antiquity of the Deep Skull, renewed investigations of the Harrisson excavations since 2000 have shown that it can be attributed securely to a specific location in the Pleistocene stratigraphy, with direct U-series dating on a piece of the skull indicating an age for it of c.37,500 BP and the first evidence for associated human activity at the site going back to c.50,000 BP. The new work also indicates that the skull is part of a cultural deposit, perhaps a precursor to the long tradition in Borneo of processing of the dead and secondary burial. These indicators of cultural complexity chime with the complexity of the subsistence behaviour of the early users of the caves discussed by Philip Piper and Ryan Rabett in chapter ten of this volume.

A cultural practice of drinking realgar wine leading to elevated urinary arsenic and its potential health risk

Toasting friends and family with realgar wines and painting children's foreheads and limbs with the leftover realgar/alcohol slurries is an important customary ritual during the Dragon Boat Festival (DBF); a Chinese national holiday and ancient feast day celebrated throughout Asia. Realgar is an arsenic sulfide mineral, and source of highly toxic inorganic arsenic. Despite the long history of realgar use during the DBF, associated risk to human health by arsenic ingestion or percutaneous adsorption is unknown. To address this urine samples were collected from a cohort of volunteers who were partaking in the DBF festivities. The total concentration of arsenic in the wine consumed was 70 mg L(-1) with all the arsenic found to be inorganic. Total arsenic concentrations in adult urine reached a maximum of ca. 550 mu g L(-1) (mean 220.2 mu g L(-1)) after 16 h post-ingestion of realgar wine, while face painting caused arsenic levels in children's urine to soar to 100 mu g L(-1) (mean 85.3 mu g L(-1)) 40 h after the initial paint application. The average concentration of inorganic arsenic in the urine of realgar wine drinkers on average doubled 16 h after drinking, although this was not permanent and levels subsided after 28 h. As would be expected in young children, the proportions of organic arsenic in the urine remained high throughout the 88-h monitoring period. However, even when arsenic concentrations in the urine peaked at 40 h after paint application, concentrations in the urine only declined slightly thereafter, suggesting pronounced longer term dermal accumulation and penetration of arsenic. Drinking wines blended with realgar or using realgar based paints on children does result in the significant absorption of arsenic and therefore presents a potentially serious and currently unquantified health risk. (C) 2011 Elsevier Ltd. All rights reserved.

Resistance is Feral: Digital Culture, Community Arts, and the New Cultural Gatekeepers

The Community Arts sector in Australia has a history of resistance. It has challenged hegemonic culture through facilitating grassroots creative production, contesting notions of artistic processes, and the role of the artist in society. This paper examines this penchant for resistance through the lens of contemporary digital culture, to establish that the sector is continuing to challenge dominant forms of cultural control. It then proposes that this enthusiasm and activity lacks ethical direction, describing it as feral to encompass the potential of current practices, while highlighting how a level of taming is needed in order to develop ethical approaches.

The Long Aftermath: Cultural Legacies of Europe at War, 1936-2016

In its totality, the “Long Second World War”—extending from the beginning of the Spanish Civil War to the end of hostilities in 1945—has exerted enormous influence over European culture. Bringing together leading historians, sociologists, and literary and film scholars, this broadly interdisciplinary volume investigates Europeans’ individual and collective memories and the ways in which they have shaped the continent’s cultural heritage. Focusing on the major combatant nations—Spain, Britain, France, Italy, Germany, Poland, and Russia—it offers thoroughly contextualized explorations of novels, memoirs, films, and a host of other cultural forms to illuminate European public memory.

Film, History and Memory

Film, History and Memory examines the relationship between film and history, exploring the multiplicity of ways in which films depict, contest, reinforce or subvert historical understanding. This volume broadens the focus from 'history', the study of past events, to 'memory', the processes – individual, generational, collective or state-driven – by which meanings are attached to the past. This approach acknowledges how the significance of the historical film lies less in its empirical qualities than in its powerful capacity to influence public thinking and discourses about the past, whether by shaping collective memory, popular history and social memory, or by retrieving suppressed or marginalized histories. This study aims to contribute to the growing literature on history and film through the breadth of its approach, both in disciplinary and geographical terms. Contributors are drawn not only from the discipline of history but also film studies, film practice, art history, languages and literature, and cultural studies.

Arts Management and Cultural Policy

This chapter explores the relationship between cultural policy and arts management. A connection between policy and practice is visible through initiatives within specific localities, nations and at an international scale. Yet, there is little scholarship that develops our understanding of how these two areas interact, how ideas are exchanged and implemented, and where the power is located within this relationship. The approach to arts and cultural management in the UK has a history of professionalization that has developed increasing influence internationally. As a result, this chapter takes the UK as a case study and presents new empirical work to examine how educators and individuals practicing in both fields perceive the relationship of policymaking to the work of management.

The working practices of Birmingham's Centre for Contemporary Cultural Studies

This article offers a history of the working practices of the Birmingham Centre for Contemporary Cultural Studies. Based on extensive interviews with former members and on research into a new archive of the Centre, housed in the Cadbury Research Library, University of Birmingham, it argues that cultural studies as practised in the 1970s was always a heterogeneous subject. The CCCS was heavily influenced by the events of 1968 when it tried to develop a new type of radical and collaborative research and teaching agenda. Despite Stuart Hall's efforts to impose a focused link between politics and academic practice, the agenda soon gave way to a series of diverse and fruitful initiatives associated with the ‘sub-groups’ model of research.

1916: A Global History

The mud-filled, blood-soaked trenches of the Low Countries and North-Eastern Europe were essential battlegrounds during the First World War, but the war reached many other corners of the globe, and events elsewhere significantly affected its course.

Covering the twelve months of 1916, eminent historian Keith Jeffery uses twelve moments from a range of locations and shows how they reverberated around the world. As well as discussing better-known battles such as Gallipoli, Verdun and the Somme, Jeffery examines Dublin, for the Easter Rising, East Africa, the Italian front, Central Asia and Russia, where the killing of Rasputin exposed the internal political weakness of the country's empire. And, in charting a wide range of wartime experience, he studies the 'intelligence war', naval engagements at Jutland and elsewhere, as well as the political consequences that ensued from the momentous US presidential election.

Using an extraordinary range of military, social and cultural sources, and relating the individual experiences on the ground to wider developments, these are the stories lost to history, the conflicts that spread beyond the sphere of Europe and the moments that transformed the war. - See more at: http://www.bloomsbury.com/uk/1916-9781408834305/#sthash.axFq0psR.dpuf

Rethinking Copyright: History, Theory, Language

This book provides the reader with a critical insight into the history and theory of copyright within contemporary legal and cultural discourse. It exposes as myth the orthodox history of the development of copyright law in eighteenth-century Britain and explores the way in which that myth became entrenched throughout the nineteenth and early twentieth centuries. To this historical analysis are added two theoretical approaches to copyright not otherwise found in mainstream contemporary texts. Rethinking Copyright introduces the reader to copyright through the prism of the public domain before considering how best to locate copyright within the parameters of traditional property discourse. Underpinning these various historical and theoretical strands, the book explores the constitutive power of legal writing and the place of rhetoric in framing and determining contemporary copyright policy and discourse.