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Claudia Theune 《International Journal of Historical Archaeology》2018,22(3):492-510
The prisoners of the former concentrations camps were supposed to be deprived of their socialization by brutal dehumanization. Among other things, the use of blue-and-white striped prison clothes was meant to reinforce a homogeneous and uniform prisoner society. However, studies from a sociological perspective have shown that prisoners’ societies were indeed diverse and structured, allowing individuals to develop strategies of survival within their – albeit limited – scope for action. In this article, prisoners’ possibilities to act are discussed using the example of clothing – an omnipresent and visible medium. Various changes and alterations preserved in prisoner clothing from former concentration camps reveal open or secretive acts of individuals and thus provide insights into the different levels of action inside the camps. 相似文献
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Claudia Sagona 《Oxford Journal of Archaeology》2004,23(1):45-60
Summary. This paper explores the manufacture and function of the so‐called ‘cart ruts’ within the harsh environment of Malta and proposes that they were deliberately constructed in order to push the boundaries of available arable land and are better identified as field furrows. Using comparative ethnographic evidence as well as archaeological data from European contexts, it is argued that the driving force, which necessitated their manufacture in Malta, lay in socio‐economic pressures. It is argued that the ruts are of high antiquity, products of Temple Period intensification and marginalism in land use. 相似文献
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Claudia Weiermann 《Standort - Zeitschrift für angewandte Geographie》1999,25(2):22-25
Im Rahmen des Austauschprogrammes der Universit?t Oldenburg studierte Claudia Weiermann für ein Jahr an der “University of Colorado at Denver” und testete die amerikanische Uni-Realit?t. 相似文献
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Siebrecht C 《German history》2011,29(2):202-223
Drawing on women's visual responses to the First World War, this article examines female mourning in wartime Germany. The unprecedented death toll on the battlefronts, military burial practices and the physical distance from the remains of the war dead disrupted traditional rituals of bereavement, hindered closure and compounded women's grief on the home front. In response to these novel circumstances, a number of female artists used their images to reimagine funerary customs, overcome the separation from the fallen and express acute emotional distress. This article analyses three images produced during the conflict by the artists Katharina Heise, Martha Schrag and Sella Hasse, and places their work within the civilian experience of bereavement in war. By depicting the pain of loss, female artists contested the historical tradition of proud female mourning in German society and countered wartime codes of conduct that prohibited the public display of emotional pain in response to soldiers’ deaths. As a largely overlooked body of sources, women's art adds to our understanding of the tensions in wartime cultures of mourning that emerged between 1914 and 1918. 相似文献
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Raymond Ammann Verena Keck Jürg Wassmann 《Oceania; a journal devoted to the study of the native peoples of Australia, New Guinea, and the Islands of the Pacific》2013,83(2):63-87
Konggap, sung melodic motifs that last only a few seconds embody the acoustic representation of a person among the Yupno people of Papua New Guinea and are a unique phenomenon in the Pacific. The konggap forms a very complex system of personal identification and expression of social relationships; at the same time it connects the singer to the ancestral world. Every person in Yupno society possesses his or her own konggap, and Yupno people are able to identify a large number of konggap, some men even up to three hundred. Nobody would sing his or her own konggap during the day. When crossing Yupno land, a person has to sing the konggap of the respective landowner to identify himself as an insider, a local person ? unlike strangers (and possible enemies) who remain silent. But at nightly dances each dancer sings his own konggap and during mourning at funerals groups of women simultaneously sing the konggap of the deceased person. An interdisciplinary ethnographic‐musicological‐cognitive fieldwork study was conducted in order to find out how it is possible that the Yupno are able to identify and distinguish between this staggering amount of very short sung motifs. 相似文献