An Exploration of Fairness in International Law through the Blue Nile and GERD

Peer reviewed

Processes of social flourishing and their liminal collapse: elements to a genealogy of globalization

This article aims at exploring a long-term historical perspective on which contemporary globalization can be more meaningfully situated. A central problem with established approaches to globalization is that they are even more presentist than the literature on modernization was. Presentism not only means the ignoring of history, but also the unreflective application to history of concepts taken from the study of the modern world. In contrast, it is argued that contemporary globalization is not a unique development, but rather is a concrete case of a historical type. Taking as its point of departure the spirit, rather than the word, of Max Weber, this article extends the scope of sociological investigation into archaeological evidence. Having a genealogical design and introducing the concept of ‘liminality’, the article approaches the modern process of globalization through reconstructing the internal dynamics of another type of historical change called ‘social flourishing’. Taking up the Weberian approach continued by Eisenstadt in his writings on ‘axial age’, it moves away from situations of crisis as reference point, shifting attention to periods of revival by introducing the term ‘epiphany’. Through the case of early Mesopotamia, it shows how social flourishing can be transmogrified into globalizing growth, gaining a new perspective concerning the kind of ‘animating spirit’ that might have driven the shift from Renaissance to Reformation, the rise of modern colonialism, or contemporary globalization. More generally, it will retrieve the long-term historical background of the axial age and demonstrate the usefulness and importance of archaeological evidence for sociology.

Gender Benders: Shakespeare's Rosalind and Woolf's Orlando

English Renaissance playwright, William Shakespeare and twentieth century modernist author, Virginia Woolf’s works, “As You Like It” (1599) and “Orlando” (1928), respectively posit a vision of gender that transcends the physical sex of the body. The play’s heroine, Rosalind, and the novel’s protagonist, Orlando, each challenge the stability of the binary categories of male and female, demonstrating how gender is not absolute but rather a constantly adapting and evolving construct. This thesis traces the development of Rosalind and Orlando by analyzing and comparing both protagonists’ journeys towards concordia discors, considering how gender transformation plays a pivotal role in helping both figures transcend prescribed gender roles and restraints placed upon them by family and society. Both Rosalind and Orlando mount challenges to prescribed gender norms during periods when conservative gender roles were strictly enforced. By doing so, each character positions themselves as pivotal and progressive representations of gender performance for their time.

John Tzetzes and the pseudo-Aristotelian Peplos in middle-Byzantium. The testimony of the Matritenses 4562 and 4621

Tras mi reciente edición de los pseudo-aristotélicos Pepli Epitaphia, el presente trabajo se centra en los apochrypha a dichos epitafios que compuso Juan Tzetzes en el siglo xii, un conjunto de ocho dísticos elegíacos para los héroes que consideró meritorios de tal tarea, y para quienes no pudo encontrar un epitafio conservado en las fuentes manuscritas a las que tuvo acceso. Para lograr dicho propósito, también se investiga el grado de conocimiento y la transmisión de ese corpus epigramático en la literatura bizantina, además de considerar las lecciones y el sentido mismo de dos códices guardados en la Biblioteca Nacional de España (M y Md). En ellos, Constantino Láscaris copió, directamente a partir de Tzetzes, dos breves antologías de dichos componentes.

Jan Steen and The doctor’s visit: Classical Tradition in Golden Age Dutch painting (1st Part)

First one of a two-part analysis on the influence of the Classical Tradition on a favourite theme along the Dutch painters of the Golden Age, The doctor’s visit or The lovesick maiden, especially in the Leiden artist’s production, Jan Steen (1626-1679).

Quintus Curtius before his sources: the episode of Alexander and the Scythians on the Tanais

Quintus Curtius found in his sources a speech where a Scythian censured Alexander, followed by the King’s reply. Curtius drastically abridged this second discourse in order to highlight the criticism of the Macedonian. The Scythian’s words have a striking rhetorical language and some allusions taken from Greek literature, in addition to possible indirect references to Caligula. Curtius declares that he follows his source word-for-word aiming to justify these inconsistencies, but also trying to hide the manipulations he has done to achieve his own narrative purposes.

Settlement Duration and Materiality:Formal Chronological Models for the Development of Barnhouse, a Grooved Ware Settlement in Orkney

Radiocarbon dating and Bayesian chronological modelling, undertaken as part of the investigation by the Times of Their Lives project into the development of Late Neolithic settlement and pottery in Orkney, has provided precise new dating for the Grooved Ware settlement of Barnhouse, excavated in 1985–91. Previous understandings of the site and its pottery are presented. A Bayesian model based on 70 measurements on 62 samples (of which 50 samples are thought to date accurately the deposits from which they were recovered) suggests that the settlement probably began in the later 32nd century cal bc (with Houses 2, 9, 3 and perhaps 5a), possibly as a planned foundation. Structure 8 – a large, monumental structure that differs in character from the houses – was probably built just after the turn of the millennium. Varied house durations and replacements are estimated. House 2 went out of use before the end of the settlement, and Structure 8 was probably the last element to be abandoned, probably during the earlier 29th century cal bc. The Grooved Ware pottery from the site is characterised by small, medium-sized, and large vessels with incised and impressed decoration, including a distinctive, false-relief, wavy-line cordon motif. A considerable degree of consistency is apparent in many aspects of ceramic design and manufacture over the use-life of the settlement, the principal change being the appearance, from c. 3025–2975 cal bc, of large coarse ware vessels with uneven surfaces and thick applied cordons, and of the use of applied dimpled circular pellets. The circumstances of new foundation of settlement in the western part of Mainland are discussed, as well as the maintenance and character of the site. The pottery from the site is among the earliest Grooved Ware so far dated. Its wider connections are noted, as well as the significant implications for our understanding of the timing and circumstances of the emergence of Grooved Ware, and the role of material culture in social strategies.

Pyramus and Thisbe 4 You or a "Wondrous Strange" Tale of Contemporary Romanian Theatre

Like its title, Pyramus and Thisbe 4 You, Alexandru Dabija’s production at the Odeon Theatre, Bucharest, was a tongue-in-cheek invitation to the audience that at once aimed to tease past and recent Romanian endeavours and to tease out the stage potential a Shakespeare play holds today. My examination of the production re-constructs the local cultural contexts the production plays with and against, referring to the Romanian ways of making Shakespeare this production enters into dialogue with. Take 1, an all-female version casting the mature stars of the Odeon, I read against both Elizabethan all-male stage practice and Andrei Serban’s all-female Lear at the Bulandra (2008). Take 2, “an old device” (V.1.50): a teacher-student “devising” session at the Academy of Theatre and Cinema, I read against critics’ “more strange than true” (V.1.2) parlance on “theories of perception and reception” and against hi-tech Shakespeare dominating the Romanian stages in the first decade of the third millennium. Take 3, local political banter on ethnic discrimination, I read as “satire keen and critical” (V.1.54) on both communist censorship and the recent rise of nationalism in Romania. Take 4, a “cold” reading-cum-improvisation performed by the technical crew – this production’s mechanicals – I read as “palpable-gross play” (V.1.376) on both acting and spectating practices. What I argue in this article is that Dabija’s production goes beyond its local context and mores, and proposes a re-assessment of Shakespeare’s cultural currency in (European) Romania and Europe at large by exposing current tyrannies in Shakespeare studies: from translation and adaptation, through directing and acting, to viewing and reviewing.

Revising Devotion: the role of wooden sculptures in affecting painting and devotion in the Late Medieval period in Italy (XII-XV century)

Thesis (Ph.D.)--University of Washington, 2016-06

Visualising Spaces: The Illustrated Map as a Mode of Communicating Fact, Fiction and Feeling

Communicating thoughts, facts and narratives through visual devices such as allegory or symbolism was fundamental to early map making and this remains the case with contemporary illustration. Drawing was employed then as a way of describing historic narratives (fact and folklore) through the convenience of a drawn symbol or character. The map creators were visionaries, depicting known discoveries and anticipating what existed beyond the agreed boundaries. As we now have photographic and virtual reality maps at our disposal, how can illustration develop the language of what a map is and can be? How can we break the rules of map design and yet still communicate the idea of a sense of place with the aim to inform, excite and/or educate the ‘traveller’? As Illustrators we need to question the purpose of creating a ‘map’: what do we want to communicate and is representational image making the only way to present information of a location? Is creating a more personal interpretation a form of cartouche, reminiscent of elements within the Hereford Mappa Mundi and maps of Blaeu, and can this improve/hinder the communicative aspect of the map? Looking at a variety of historical and contemporary illustrated maps and artists (such as Grayson Perry), who track their journeys through drawing, both conventional journeys and emotional, I will aim to prove that the illustrated map is not mere decoration but is a visual language providing an allegorical response to tangible places and personal feelings.

Between Eusebius and Augustine : Una and the Cult of Elizabeth

Artikeln visar hur den engelske renässanspoeten Edmund Spenser i sin politiska teori, uttryckt i bok 1 av hans epos The Faerie Queene, går en balansgång mellan de två kyrkofäderna Eusebius och Augustinus