‘Facing the future’: tourism and identity-building in post-socialist Romania

Tourism is an important component of the process of identity-building, representing one way in which a country can seek to project a particular self-image to the wider international community. As such, tourism has considerable ideological significance for the formerly socialist states of Central and Eastern Europe that are seeking to project and affirm distinctly post-socialist identities as part of the process of re-integration into the political and economic structures of Western Europe. This paper focuses on tourism and identity-building in post-socialist Romania. In particular, it focuses on one building — the so-called ‘House of the People’ — which is intimately linked with Romania’s totalitarian past and which is fast becoming Bucharest’s biggest tourist sight. The presentation of the building to tourists seeks to ‘reconfigure’ its past so that it accords better with Romania’s post-socialist identity, and particularly its aspirations to (re)establish itself as a country of ‘mainstream’ Europe.     

Re-placing imperial landscapes: colonial monuments and the transition to independence in Kenya

Public monuments in colonial Nairobi were visual links to the British empire, and served as a means of asserting imperial power. During this period, colonial memories and identities were inscribed into Nairobi’s landscape by the dominant group, the elite of the European population. However, at the moment of Kenya’s achievement of independence from colonial rule, such identities and assertions of power were challenged as statues were removed from the city. This paper examines the forces behind the decolonisation of Nairobi’s monumental landscape and how this landscape visualised the changing political and cultural contexts of the city. Comparisons are made with the removal of statues from Sudan, India and the Democratic Republic of Congo in order to situate the Kenyan experience. Through a comparative examination of the decolonisation of Nairobi’s monumental landscape, this paper illustrates how the removal of public monuments from the city was exploited by both the coloniser and the colonised.     

Socialist Intercessions: The Earliest Demands for a Separate Montenegrin Language (1967–1972)

The question of a separate Montenegrin language has been extensively debated in the last decades. Its roots, however, lie deeper, with the first demands for it appearing in the late 1960s. By analysing the contemporary sources, this paper seeks to establish how and by whom these demands were voiced, the argumentation of both sides of the debate and how were they received by the League of Communists of Yugoslavia. The debate was started by a group of Montenegrin intellectuals in a climate favourable to the “political periphery” of socialist Yugoslavia and the smaller nationalisms. The group, supported by some of the high executives of the Communist Party, claimed that the rights of the Montenegrin nation were being negated by the government's refusal to allow the local language to be codified to a literary standard. The discussion sheds light on the process of nation-building in socialist-era Montenegro, revealing its actors and dynamics.     

A battle worth winning: The service of culture to the Communist Party of Vietnam in the contemporary era

The Communist Party of Vietnam’s (CPV) market reform policies—introduced in the late 1980s and carrying on today—have opened the country to foreign investment, deregulated state-owned enterprises, decollectivized agricultural cooperatives, and encouraged foreign direct investment. However, what the Party has not wanted reformed, and has fought strongly on behalf of, is culture. Using primary source official CPV cultural policy documentation and secondary sources highlighting contemporary meanings of Vietnamese and foreign cultures, this paper evaluates the Party’s use of culture as a resource in the direction and regulation of the nation’s market economy with a socialist orientation. While culture is expedient for all governments, I argue that the CPV’s intent is unique in that it uses culture as an instrument to maintain its ownership, rather than simply to legitimize its regulatory ability, over the national political economy. This paper aims to show how culture is part and parcel of post-socialist governance’s political-economic framework and contributes to debates surrounding the reach and impact of neoliberalism in formerly command economies.     

Place, national identity and post-socialist transformations: an introduction

This paper serves as an introduction to this theme issue on the topic of post-socialist identity politics surrounding nation building, national identity and nationalism. It presents an overview of the key processes of post-socialist identity formation in Central and Eastern Europe (CEE) and the former Soviet Union (FSU) in order to contextualise this collection of papers. This introduction outlines the key processes of identity formation and the treatment of nationalism under conditions of state-socialism, and then identifies the main processes of identity formation which have emerged in discourses surrounding nations and nationalities in post-socialist CEE and the FSU. A short account of each of the papers in the theme issue is then presented to identify the common strands of their analyses of post-socialist nationalisms.     

南诏大理国金属佛像制作工艺初探

为研究南诏大理国金属佛像的制作工艺,对部分金属佛像进行了科学分析,表明制作各种铜佛像时,主要使用失蜡铸造工艺,已使用多种金属元素作为材质,阿嵯耶观音像和其他铜像是以含砷的铜合金为特征,金质佛像的材质主要用金银合金,铸造小铜佛像则采用复杂的合金成分配比。根据铭文和绘画资料分析,这些金属佛像主要是大理本地的工匠制作。     

Heritage Void and the Void as Heritage

This paper is an analysis of practices in the heritage field that I call heritagization, de-heritagization and re-heritagization. I use the case of the destruction of the Buddha statues in the Bamiyan valley of Afghanistan to analyze these processes in a Lacanian theoretical framework. In the course of my argument, I provide elements of the history of destruction of the two statues, as well as of attempts to reconstruct them. Different kinds of discourses that accompanied these processes form another part of my contribution. Finally, I discuss the ‘problem’ of the heritage voids by emphasizing emerging collective desires to replenish them.     

扎什利玛藏书铭文金铜造像类型及风格归类

在晚期西藏金铜造像作品中,扎什利玛佛像是知名度很高的一种。扎什利玛为简称,全称为扎什伦布寺利玛,指以日喀则地区扎什伦布寺为核心铸造的佛像系列,代表了以扎什伦布寺为核心金铜造像艺术的最高艺术水平。     

Egyptian sculptures from Imperial Rome. Non-destructive characterization of granitoid statues through macroscopic methodologies and in situ XRF analysis

Aegyptiaca-like Domitian’s obelisk is now decorating Bernini’s fountain on Piazza Navona or the Egyptian lions flanking Michelangelo’s stairs towards the Capitol figure prominently amidst Rome’s cultural heritage. Motivations for the import, contextualization, and copying of these objects during the Imperial Roman period are as heavily debated as they are ill understood. Provenance determination plays an important role in these discussions in terms of a (supposed) dichotomy between Egyptian (real) versus egyptianising (copy) but has only been applied stylistically and never been tested analytically. A scientific characterization of the materials themselves is even lacking altogether, as is an investigation into the cultural and symbolic meaning of the materials used. This paper is a first attempt to address these important lacunae on the basis of an explorative study of a selected sample of Egyptian statues from Rome. The identification and provenance attribution of the materials used for these statues are often problematic due to their relatively fine-grained nature and dark color. Therefore, a full non-destructive analysis of Egyptian statues in dark-colored rocks is presented in this study, with the stones evaluated by macroscopic examination and handheld X-ray fluorescence (XRF) analysis. The implemented methodology has allowed a distinction between greywacke and several varieties of granitoid rocks. In order to evaluate the potential for source attribution, a comparison was made between the results of our analyses and geochemical data for several granitoid rocks from Egypt. This has suggested Aswan as most likely source. The results presented here indicate that handheld XRF analysis can be used for the assessment of compositional variability in and potentially for the provenance of granitoid rocks, provided that a fine-grained area of the material can be measured on multiple locations, and if these values can be assessed on (in)consistencies with other published reference materials.     

用羧甲基纤维素封护法加固龙门石窟擂鼓台南洞一尊宝冠佛像的研究

龙门石窟擂鼓台南洞部分佛像风化开裂严重,为了有效地保护这些佛像,探讨微裂隙造像加固封护的方法,采用羧甲基纤维素封护法对其中一尊开裂严重的宝冠佛像进行了试验性加固。结果表明,用这种材料进行封护不仅能够满足微裂隙造像加固的需要,而且操作简便,安全性好,是一种可行的加固封护方法。     

Resurrection: a tale of two anthems sung by Serbs

ABSTRACT. This paper presents a comparative study of two key contenders for Serbian anthem‐hood, the royalist song ‘God of Justice’ and the pan‐Slavic hymn, ‘Hey Slavs’. Drawing on the theorising of nation and representation, as developed by Benedict Anderson, Michael Billig and others, the purpose of the study is to compare the self‐images these songs present to those they enjoin in unison, and to consider the role of those images and the identities they suggest in national/ist ideologies. Neither of the songs discussed in this paper was originally intended to be a national song. Both are in this sense ‘accidental anthems’. The paper will discuss the history of the accidents which have at various times given, and deprived, these songs of anthem status, in Serbia. ‘God of Justice’, originally a song in a patriotic stage play of the 1870s (commissioned to legitimise a young prince's accession to the Serbian throne), was the national song and later the official national anthem of the Principality of (later Kingdom of) Serbia from 1872 to 1919 and then, in a changed form, part of the national anthem of the Kingdom of Yugoslavia from 1919 till 1941. It was resurrected in 2006, in a changed – republican – form to become the national anthem of the Republic of Serbia. The pan‐Slavic ‘Hey Slavs’, written in 1842, emerged, a century later, first as a national song of the Communist‐led resistance movement in Yugoslavia in 1942 and then became an unofficial national anthem of the Communist‐ruled Yugoslav federation; it survived the violent disintegration of that federation in 1991 to serve (once again unofficially) as an anthem of the rump Yugoslavia from 1992 to 2006. Why have these particular songs been chosen for the purpose of representing the Serbian nation to itself and to the world? How has each succeeded and failed in that task? The essay concludes with some speculation on these questions.     

Commemorating ‘Struggle Heroes’: Constructing a Genealogy for the New South Africa

This article focuses on new commemorative monuments, memorials and statues in post‐apartheid South Africa. The identification, preservation, celebration and display (not least for tourists) of heritage, especially the heritage of those previously marginalised, are flourishing throughout the country. This article examines how new monuments contribute to constructing new identities in the post‐apartheid context. It will first discuss the perceived need for monuments generally, and the identification and public commemoration of ‘heroes’ in particular. It then explores how selected heroes are linked to processes of identity formation. It will be suggested that by identifying and celebrating new heroes, we, as communities and as a nation, create a genealogy, a chosen ancestry—not in biological but in ideological terms—which serves as a foundation for the construction of our preferred identity.     

犍陀罗与马图拉造像艺术比较研究

犍陀罗艺术和马图拉艺术是贵霜王朝时期大乘佛教传播过程中产生的最重要的两种造像范式,两种佛像的雕塑材料、造型特征、艺术风格上都呈现出巨大的差异性。本文将两者进行比较,介绍了犍陀罗和马图拉艺术的文化、地理范围和分期,列举了犍陀罗和马图拉造像艺术的主要差异性。根据两地出土文物证实,两者虽然归属于独立发展的艺术体系,但两者之间始终联系紧密、互为影响。马图拉艺术所代表的印度本土因素,在犍陀罗艺术形成初始期就已经对犍陀罗造像产生影响,并一直持续至犍陀罗艺术晚期灰泥阶段。受犍陀罗艺术"迦毕试样式"的影响,贵霜时代马图拉艺术出现了着通肩式佛衣、身材矮短的佛像。笈多时代马图拉艺术在融合犍陀罗灰泥造像的基础上创造了"湿衣佛像",并以此完成了印度佛像自诞生之日起便不断融入亚洲人审美特征、逐渐向着东方风格佛像回归的整个历程。     

“A Riddle,Wrapped in a Mystery,inside an Enigma”: Teaching Post-Socialist Transformation to UK Students in Moscow

In the 20 years since the fall of the Berlin Wall, teaching post-socialist transition to undergraduate students has become increasingly challenging. This paper relates the development, planning and operation of a fieldwork module in Moscow, for Year Three geography undergraduates. It argues that ‘on-street’ teaching and imaginative use of visual sources can partially overcome the linguistic drawbacks of fieldwork in this context. It supports the utility of fieldwork for teaching post-socialist transformation, but stresses the need for local knowledge and contacts, linguistic ability on the part of module staff, and careful planning, to overcome anticipated and unexpected challenges.     

Suffolk Leechcraft

Inspired by The Lore of the Land, published by Jennifer Westwood and Jacqueline Simpson in 2005, a Dutch version of this book, comprising local and regional legends, was published in the Netherlands in 2010 by Willem de Blécourt, Ruben Koman, Jurjen van der Kooi, and Theo Meder. The editors selected over three hundred and fifty legends, representative of the twelve provinces of the Netherlands, for the volume. Some were real ecotypes, having been appropriated by local communities and having led to the erection of associated statues, often for touristic and commercial purposes, as well as for shaping collective identities, while others were almost forgotten tales. The editors also found, somewhat unexpectedly, that quite a number of popular legends had been composed and constructed by romantic writers in the nineteenth century, and that these older legends were much more popular than the recently-invented ones. As the editors also included a number of contemporary legends, they discovered that one such legend had already become popular enough to have a statue erected and a song composed in its honour.     

Decay of Limestone Statues at Mount Nemrut (Adiyaman,Turkey)

Mount Nemrut is a 2,206 m high mountain located in Adiyaman, Turkey. A number of monumental statues, a 50-m high tumulus, and a lion horoscope were constructed at the top of the mountain by King Antiochos I (69–36 bc) of the Commagene Kingdom. The site was included in the UNESCO World Heritage List in 1987 due to its unique character. However, the limestone statues located on both the east and the west terraces of the site are getting deteriorated. This study investigates the weathering of the limestone at Mount Nemrut based on field and laboratory studies. It is found that the dissolution occurs along microcracks developed in the limestone during geological time. It is more pronounced in the east terrace where freezing-thawing cycles are more than the west terrace. Furthermore, dissolution is more effective for the faces of the statues exposed to direct atmospheric contact. Due to harsh atmospheric conditions with dominant wetting-drying and freezing-thawing processes at the site, it is recommended that direct rain and snow contact with the statues should be minimized.     

Not all dogs go to heaven,some go to Battersea: sharing suffering and the ‘Brown Dog affair’

This paper concerns the memorialisation of a dog's (after)life. It traces the story of the ‘Brown Dog’: a terrier allegedly vivisected in 1903 by English physiologist Sir William Bayliss and subsequently commemorated by two statues in Battersea, London. Each statue has been the locus for ethical encounters between human and animal, and I draw upon the work of Donna Haraway to explore them. The first, installed in 1906 in Battersea borough, enjoyed a prominent social existence at the centre of Edwardian anti-vivisectionism. The second, by contrast, erected seven decades later in 1985, was welcomed with minimal fanfare and now sits, an obscure curiosity, in a corner of Battersea Park. Both statues attempt to honour the non-human lives lost through the unequal and instrumental power relations of animal testing. Here, I see the statues as experimental means of ‘paying attention to’ the suffering inflicted through animal experimentation and vivisection, mobilising Haraway's concept of ‘shared suffering’. I also argue that their varied success demonstrates how both the nature of and responses to the animal suffering they embody are historically contingent. The paper follows recent trends in animal geography arguing that explorations of ‘discomforting encounters’ might offer better ways of relating with animals.     

‘Just looking’: domestic workers' consumption practices and a latent geography of Beijing

The post-socialist Chinese city has been an important site to explore the formation of modernity in its everyday shape and manifestations. A common way of understanding urban experiences is through the prism of consumption. Rural migrants in the city cannot compare with urban residents in terms of their consumption level, but they are seen to be equally enthusiastic in partaking in consumption, and their identities are also believed to be (re)shaped by consumption practices. Drawing on several years' extensive ethnographic research in Beijing, this article suggests that these scenarios cannot adequately account for the diversity and complexity of rural migrants' experience in the consuming city. In this article, I put forward a methodological argument for considering the lived spatiality of ethnographic subjects in conceiving and considering consumption. Then, through an investigation of how migrant domestic workers use urban spaces, I consider the ‘dialectic of freedom and constraint’ which marks their agency and their individual choices and decisions. Finally, I explore the social production of space by considering migrant domestic workers' ‘subversive’ behaviours within rather than in opposition to the capitalist commercial logic and space. This discussion demonstrates that consumption practices are at the same time spatial practices, and despite the many obstacles and constraints, migrant domestic workers are actively availing themselves of the opportunities that the city has to offer. This creative process is crucial if we are to gain a new and more nuanced understanding of consumption as a social practice. I further argue that it is also a process by which rural migrants hold on to their sense of dignity and self-respect in an environment of exclusion and discrimination.     

山东青州龙兴寺部分北齐佛造像石材及朱砂颜料分析研究

山东青州龙兴寺窖藏佛教造像出土于1996年,造像雕刻技艺精湛,数量多,贴金彩绘丰富,展现出一种特殊的佛教造像艺术特征。一些佛像由于长期掩埋和历史上遭到破坏,彩绘发生了褪色、变薄、起翘等现象。为了弄清佛造像彩绘颜料和结构,本研究采用三维视频显微镜、显微拉曼光谱分析、扫描电镜-能谱、偏光显微镜等仪器分析颜料的结构和化学组成。分析结果表明,龙兴寺佛造像红色颜料为辰砂(Hg S)与铅白(2PbCO_3Pb(OH)_2)混用;地子主要为铅白,经过对该批出土佛造像残碎的石块做薄片处理做偏光显微分析,得到造像石材的主要矿相为含菱铁矿、生物碎屑、白云石的泥晶灰岩(灰岩即石灰石)。