Reading Revolutionaries: Texts,Acts, and Afterlives of Political Action in Late Colonial South Asia

This essay maps out the discursive and political trajectories of the ‘revolutionary’ in Indian historical and literary worlds. Focusing on the Hindustan Socialist Republican Army and related interwar Indian anticolonial agitators, this essay reflects on the lineages, breadth, and productivity of the term. By tracing the figure of the revolutionary, we show that its genealogy reflects a wide range of political allegiances, ethical concerns, and aesthetic protocols. ‘Revolutionary’ not only suggests Marxist roots, but also reveals anarchistic, nationalistic, reformist, and socialist beliefs. Moreover, in our analysis, ‘revolutionary’ often escapes the grasp of the merely political: its use in popular discourse also suggests debates about violence, modernism, propaganda, cosmopolitanism, and utopianism. Consequently, we argue for the importance of historical context for understanding revolutionary thought, which is sensitive to an active rejection of rigid political categories or spectra.     

Wild Cattle: Red Deer in the Religious Texts,Iconography, and Archaeology of Early Medieval Ireland

Humans use animals as a means of creating and manipulating relationships with other human beings. This process occurs both through the use of animals for food or raw materials and through the use of animals as literary and artistic symbols. Cervus elaphus is Irelands only indigenous deer species. It is also unique in being the only native Irish, wild animal to appear frequently in medieval texts, iconography, and archaeological deposits. This paper brings together diversesources of information to illuminate how early medieval monasteries used reddeer to establish an identity for themselves and to conceptualize socioeconomic relationships with others.     

Medieval Painted Pottery in South and Central Italy

DURING the 9th century unglazed pottery decorated with red or brown slip came into production along the middle Rhine. This pottery, known as Pingsdorf ware, was exported in large quantities to the North Sea region and even to the Baltic coast.² By the 12th century red-painted pottery, often imitating Pingsdorf ware, was made at a number of sites in the Low Countries and western France.³

It has long been known that painted pottery was manufactured throughout the medieval Islamic world, including north Africa, and isolated finds of painted ware have been published in Italy and Spain.⁴ Nevertheless, little attempt has been made to explore the possible connexions between painted pottery in the Mediterranean basin and western Europe,⁵ A serious obstacle to such an attempt is the inadequacy of most publications of Mediterranean finds. This paper offers an account of the painted wares in one area of the Mediterranean, peninsular Italy, and suggests that the pottery found there may indeed be related to the earliest painted wares north of the Alps. It must be emphasized, however, that the study of Italian medieval pottery is in its infancy and that the suggestions made here are of an entirely speculative nature.     

The Jewish Communities of Central Asia in the Medieval and Early Modern Periods

When the Jews first settled in Central Asia is uncertain, but circumstantial evidence clearly indicates that this happened at least two and a half thousand years ago. In the first millennium AD, the Jews lived only in cities no farther than 750?km east of the Caspian sea (in the eighth–eleventh centuries the sea was called Khazarian). Only later did they migrate to the central part of the region, to cities like Samarkand and Bukhara. It is possible that Jews from Khazaria joined them, since they already had tight trade connections with Central Asia and China. There is no trace of evidence regarding the existence of Jews in the entirety of Central Asia in the early sixteenth century. At the very end of the sixteenth century Bukhara became the new ethnoreligious center of the Jews in that region. In the first half of the nineteenth century, thanks to European travelers visiting Central Asia at that time, the term “Bukharan Jews” was assigned to this sub-ethnic Jewish group. Drawing on a wide range of primary and secondary source materials, this article aims to prove that the presence of Jews in Central Asia was not continuous, and therefore the modern Bukharan Jews are not descendants of the first Jewish settlers there. It also attempts to determine where Central Asia’s first Jewish population disappeared to.     

中亚的地缘政治--历史和现实

一个多世纪以来 ,中亚的地缘政治格局和作用不断发生变化 ,并在不同时期以不同的方式影响着中国。“9·11”事件之后 ,中亚的地缘政治形势变得更加复杂 ,大国的、区域的、国际的利益交织在一起 ,成为全球关注的热点。阿富汗反恐战争的结束为中亚国家提供了国际合作的新通道 ,尽管中亚在国际地缘政治格局中的作用将越来越重要 ,但它不会成为新的地缘政治“核心地区”。     

Visual Reflections on History and Kingship in the Medieval English Great Church

The images of royalty set up on the western face of the choir-screen or pulpitum of medieval English great churches formed an enduring iconographic tradition which was found across England and was apparently without continental parallel. Discussing in detail the remains of the choir-screen at Salisbury cathedral and the records of the screen at Durham cathedral, this article suggests their potential antecedents in 12th-century representations of lineage. It then explores their probable meanings and functions for contemporary audiences, with reference to liturgy, history and clerical identity.     

Creating Cultural Identity: Opus anglicanum and its Place in the History of English Medieval Art

The term opus anglicanum, as a designator of English national identity associated with embroidery and textiles, is unknown in any document written in England during the Middle Ages, but is used in papal and other European archives. The term has been questioned by a number of scholars who have suggested it may be a generic name used to describe a particular technique of attaching gold thread to an embroidered textile (underside couching). It is suggested in this article that the phenomenon of opus anglicanum during its golden age c. 1200–1400 was part of a wider European cultural development at a time when an appreciation of cultural identity as a transnational phenomenon emerged. The article goes on to examine the relationship between English pictorial artists and the craftswomen and men who made these textiles. It concludes with a case study of the orphrey associated with the Daroca Cope in Madrid — now associated with a designer in the artistic circle of the artist of the Wilton Diptych. The respect for, and reuse of, these works of art (many of which have survived through the care taken to preserve them in cathedral treasuries and private collections up to the present day) is an element in their continued importance as a part of our shared European heritage.