Historical Archaeology of Lavras do Abade: An Environmental Conflict in Nineteenth-Century Brazil

The Lavras do Abade research is a historical archaeological study about a gold mining village in midwestern Brazil that was destroyed by an environmental conflict at the end of the nineteenth century. This article concerns the history and archaeology of Lavras do Abade and consists of a post-disciplinary intersection of documentary and material sources about the site. In addition, only this type of reconstruction of a long-term event permits the scientific analysis of all the possible causes and consequences of this ecological contention. In this way, historical archaeology can be used to transpose a simple narrow view of the reconstruction of the past and offer insights into understanding similar unrest and group conflict today and in the future.     

A Distorting Mirror: The Sixteenth Century in the Historical Imagination of the First Hispanic Liberals

Summary

Both Iberian and Spanish American liberals in the early decades of the nineteenth century based their political stances upon a particular vision of Spanish history. This vision, nourished by the stereotypes of the so-called ‘black legend’, correspond to an extremely gloomy picture of the main events and processes that had been taking place in the Hispanic monarchy since the late fifteenth century, such as the discovery and conquest of America and the outcome of the Comunidades of Castile war. This essay shows how those first Hispanic liberals, many of whom spent several years in exile, hoping to make sense of that period of uncertainty and revolutionary crisis, sought inspiration in the philosophies of history which were beginning to spread from Northern Europe regarding the decisive role of Protestantism in the origins of modernity. In endorsing such a derogatory vision of the history of their own countries, which included an evaluation of Catholicism as a retrograde factor, those liberal writers and politicians bequeathed to their descendants an interpretative framework that would prove to be very long lasting. In fact, much of the political and intellectual historiography on the Iberian world would be conditioned for a long time by a paradigm which described its past as an anomaly in the Euroamerican context, and assumed the subordinate and peripheral position of the region, portrayed as a kind of ‘interior Orient’—that is, as an aberration of Western civilisation.     

Historical Memory in Post-Cold War Europe

This article examines European memory and memory politics. Taking as my starting point the deepening divisions between the “old” and “new” members of the European Union since the 2004 and 2007 enlargements, I investigate whether differences in official memory concerning World War II on the one hand and communism on the other should be regarded as permanent. Using examples from the development of West-European postwar memory-regimes and comparing them to the current state in postcommunist Europe I suggest that with respect to historical memory the two parts of Europe underwent similar developments, crises and debates, thus making eventual convergence and consensus possible. However, there are various factors that complicate progress in this area: postcommunist countries have to contend not only with their wartime history but also with the experience of communism, which latter colours the assessment of the former.     

Wilful Design: The Sampler in Nineteenth-Century Britain

This article recovers the cultural significance of the sampler in nineteenth-century Britain. I argue that this mainstay of female education models a circular shape of development in which the young girl painfully revises earlier experience; the subject is conceived of as perpetually reworking herself without obvious linear progression. Though this article is situated against canonical works of Victorian fiction, it focuses primarily on actual samplers to argue that these pieces of childhood embroidery should be recognized as a form of life-writing. After establishing the conventions of the sampler, I turn to an apparently anomalous example that exemplifies the temporal and affective patterns ingrained by the pedagogical exercise of sampler sewing. My central artefact is an autobiographical sampler from the needle of a 17-year-old Sussex girl named Elizabeth Parker. Currently housed in the Victoria and Albert Museum, this textile from 1830 recounts Parker’s childhood experiences in service, and the horrors of physical abuse and sexual assault that led her to contemplate suicide, all compressed into 46 lines of cross-stitch. I argue that the sampler as a pedagogical tool resists the Bildungsroman’s model of the self as formed through temporal progression towards self-contained adult agency. Instead, the sampler materially and thematically enforces the recursive temporal dynamics of conversion.     

The Karaghiozis Performance in Nineteenth-Century Greece

Abstract

Out of the vacuum of the sparsely developed dramatic environment of nineteenth-century Greece grew a performance totally unrelated to the largely literary and western-European oriented theatre of Athens under the influence of the king and his court. It was a performance which, unlike the literary theatre, aroused the interest of the common man through its use of folk tales, anecdotes, songs, dialects, costumes and characters as the basis of its presentation. Originating in the Turkish folk form Karagöz, the Greek performance, called Karaghiozis, found its roots in an entertainment with which Greeks both on the mainland and in other parts of the Balkans and Middle East were already familiar.     

Li,Huaiyin, Reinventing Modern China： Imagination and Authenticity in Chinese Historical Writing

Li Huaiyin＇s new book deals with the dialectic and competing processes ofwriting the history of ＂modem China＂ in China during the past century. Li presents the writing of history as a literary genre that has produced multiple narratives in different periods, narratives that corresponded to or were instigated by particular socio-political （especially political） circumstances of the protagonists of his story. In general, Li depicts these narratives as ＂romantic,＂ ＂optimistic,＂ or ＂pessimistic,＂ based on two major conflicting paradigms （or ＂grand narratives＂--Li often uses ＂narrative＂ and ＂paradigm＂ interchangeably）： ＂modernization＂ and ＂revolutionary.＂