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Sarah Van Beurden 《History & Anthropology》2013,24(4):472-492
Based on the scholarship of Frans M. Olbrechts and the changes implemented in the Museum of the Belgian Congo during his directorship (from 1947 until 1958), this article argues that the institutionalization of African artefacts as art served the late Belgian colonial regime in promoting its renewed postwar commitment to the Congolese colony. In their reinvention as art and subsequent re-installation in modernist displays, the objects acquired not only a cultural, but also an economic and political value as resources, which led to their co-option in the mise-en-valeur, or valorization, of the colony and fuelled a colonial rhetoric that replaced an earlier emphasis on the civilizing mission with a construction of cultural guardianship based on the universal value of the objects as art. 相似文献
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This paper presents new 500 year interval palaeogeographic models for Britain, Ireland and the North West French coast from 11000 cal. BP to present. These models are used to calculate the varying rates of inundation for different geographical zones over the study period. This allows for consideration of the differential impact that Holocene sea-level rise had across space and time, and on past societies. In turn, consideration of the limitations of the models helps to foreground profitable areas for future research. 相似文献
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Sarah Parker 《Journal of Victorian Culture》2013,18(3):313-334
This article explores how the late-Victorian poets Katharine Bradley and Edith Cooper, who wrote under the collaborative pseudonym Michael Field, used fashionable dress to construct and advertise their unique poetic identity. Using evidence from their journal Works and Days, I contextualise Bradley and Cooper's clothing in terms of late-Victorian dress culture, and the major dress reform movements of the nineteenth century. I demonstrate that Bradley and Cooper used fashion as a distinctively feminine way of participating in aesthetic culture, marking significant life events, and to advertise their poetic identity. This self-fashioning also exposed them to aesthetic scrutiny from their peers Oscar Wilde and Bernard Berenson. Finally, I argue that fashion played a crucial role in Bradley and Cooper's desire for one another – and that this desire can be understood in terms of erotic reciprocity. 相似文献
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