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961.
Andrew Gorman-Murray Emilie Baganz 《Gender, place and culture : a journal of feminist geography》2019,26(7-9):945-955
AbstractCorresponding with Gender, Place and Culture’s twenty-fifth anniversary, this country report surveys geographies of gender and sexuality in Australia over the last twenty-five years, from 1994 to 2018. It is a necessarily selective, rather than comprehensive, review. We map out some broad areas tackled by geographers of gender and sexuality in Australia, and accordingly scaffold our survey through themes that include the geographies of women, feminist approaches across the discipline, geographies of masculinities and geographies of sexualities. We highlight research that has investigated gender and sexuality in relation to private and public spaces, workplaces and leisure spaces, urban and rural spaces, digital spaces, and disasters, inter alia. 相似文献
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Andrew Marriott 《Post-Medieval Archaeology》2020,54(1):78-93
SUMMARYThe Victoria Cross, Britain’s highest award for gallantry in the face of the enemy, is commonly believed to be cast from the bronze of Russian cannon captured at Sebastopol during the Crimean War. There is no corroboration for this belief beyond an entry in The Times in 1857. Historical sources suggest that neither the Queen nor her Prime Minister would have favoured an association of the medal with Sebastopol. From 1914, however, it is likely that many Victoria Crosses were indeed sourced from captured ordnance, but probably using Chinese guns. Some may even have been cast from entirely unprovenanced metal. Recent examination of VCs and putative sources of their metal by X-ray fluorescence suggest multiple sources of material, presenting medals variously of bronze, brass and copper. 相似文献
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Andrew Green 《International Journal of Cultural Policy》2020,26(4):417-432
ABSTRACT This article takes an ethnographic perspective to explore the changing ways in which the municipal government of San Cristóbal de Las Casas, a city in southern Mexico whose economy is highly dependent on tourism, has regulated street musicians over the last five years. It focuses on permits given to street musicians which served to exert spatial and temporal control over street performance, while giving musicians no substantial rights in practice. Engaging the so-called ‘anarchist turn’ in anthropology, it shows that this policy instrument effectively sidelined non-monetary forms of exchange between musicians and their various publics, and privileged the commercial interests of restaurants and bars. Further, in practice, it pushed some street musicians onto the margins of the city’s economic life, where their performances were often more, rather than less, disruptive. Nonetheless, this situation altered significantly in the wake of social unrest in Summer 2016, which caused a precipitous drop in tourism to the city. The municipal government’s response to the ensuing economic crisis signified a belated recognition of the economic value of street musicianship. 相似文献
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