Who Grows Food in Russia and Eastern Europe?

Drawing upon an innovative program of surveys in Russia and Eastern Europe, a prominent Western public policy specialist and Russian geographer present an important empirical study demonstrating a wide diffusion of subsistence food production by both urban and rural households in Eastern Europe and by urban households in Russia. With access to land, rather than occupational specialization, determining who grows food in the stressful 1990s, the paper, based on an extensive survey in 1991 and 1992 with 3,550 Bulgarian, Czechoslovak, and Polish respondents and 2,100 Russian, reveals that most people in the post-Soviet realm consume the food that they produce. 1 diagram, 7 tables, 25 references.     

Stonemasons' Drawings on Building Fabric: Diversity,Form and Function

This paper considers the contribution of medieval geometric drawings found on the fabric of buildings to our knowledge of the working methods of medieval masons. An attempt is made to categorize drawings found in ecclesiastical buildings, many of which are previously unrecorded or unpublished, and to explore the different functions and purposes that these drawings served and the variety of ways in which they were used. The drawings are found to address questions of design, of marking out, reference and problem solving, of training and practice and the mechanics of the stonemasonry craft.     

The Parthenon Marbles as icons of nationalism in nineteenth‐century Britain

Theories of nationalism place native culture at the core of national self‐fashioning. What explains a state's adoption of foreign objects to sustain national identity? In this paper, I argue that the incorporation of the Parthenon Marbles into British public life is an early example of supranational nationalism. The nineteenth‐century ‘art race’ was a competitive field in which European nation‐states vied for prestige. Of the thousands of art trophies that were brought to Britain from Mediterranean and North African countries, the Parthenon Marbles were uniquely iconicised. Using data from period newspapers and official documents, I assert that this was because they were assiduously presented as prenational by British authorities. In this way, they belonged simultaneously to no nation, to every nation, and to Britain. The case demonstrates the emergence of a particular form of national distinctiveness that transcended the smallness of particularity and rose to the level of universal civilisation.     

Normative,agitated, and rebellious femininities among East and Central African refugee women

This article discusses femininities among East and Central African refugee women self-settled in Nairobi, Kenya. It argues that while normative approaches to refugee studies depict a homogeneous refugee femininity inherently synonymous with vulnerability and ‘victimhood,’ femininity among refugee women in Nairobi is heterogeneous, fluid, and complex. It is premised on individual refugee women's marital statuses in relation to economic situation. The article argues that femininity is a constraint in some instances and a resource in others, such that what exists among the refugee women is not a single femininity but a continuum of femininities. Specifically, the article conceptualizes femininity under three categories, namely: normative, agitated, and rebellious femininities.     

Family photographs and domestic spacings: a case study

This paper elaborates the argument that domestic space should be considered as the product of relations that extend beyond the home. It examines one common domestic object – family photographs – and explores how the particularity of this photography and the specificity of its display by white middle-class mothers with young children in South-east England produce just such an extended domestic space. The stretched space co-produced by these mothers and photographs is also a form of stretched time, and it is integrative in complex ways; it contains different kinds of absences which disturb but do not break its cohesion. The paper also discusses why the display of family photographs is done almost exclusively by women.