Lessons from Birds, Bones, and the Body

Written as a layered pictorial script, three images—Owl, Raven, and Hummingbird—beckoned the authors. Together, they explored neglected epistemologies in many disciplines within education, the arts and humanities to deepen their understanding of what it means to live in caring relation with an animated world. By tracking the Birds’ lineages and kinships through active imagination, amplification, and circumambulation, concealed patterns and associations reveal lessons for living more consciously with repressed and expressed feminine/androgyne energies. To be more conscious of both aids in the unfolding processes central to becoming, undoing, creativity, and pedagogy. Herein an ethical challenge arises: how might we honour the ancestors and communal life while attending the spirits that call us onward

The invention of tradition: Vinča script

Problematični pojam 'vinčansko pismo' odnosi se na izvesne urezane ornamente i znakove na keramici vinčanske kulture - jedne od najznačajnijih 'kultura' u neolitu Jugoistočne Evrope. Upotreba i zloupotreba ovog fenomena i samog termina 'vinčansko pismo' vremenom se menjala, te s jedne strane rečito svedoči o promenama paradigmi u evropskoj arheologiji, dok s druge ukazuje na opasne kontaminacije arheologije pseudoarheološkim idejama. U XIX i u prvoj polovini XX veka ideja o pismu u neolitskim kulturama jugoistočne Evrope ponekad se pojavljivala kao potvrda kratke 'istorijske' hronologije i bliskoistočnih uticaja, što je kao interpretativna paradigma potpuno srušeno novom C-14 hronologijom. Osamdesetih godina XX veka ideja o 'vinčanskom pismu' pojavljuje se u Srbiji ponovo, ovog puta kao izmišljena tradicija, iz potpuno drugih - pseudonaučnih krugova, žestoko podržana medijskom kampanjom. 'Vinčansko pismo' postaje centralni motiv mnogo šireg pseudonaučnog pokreta, gde se otkriće pisma vezuje za praistorijsku jugoistočnu Evropu (navodno još od paleolita, mezolita, Lepenskog vira preko etrurskog, lidijskog i drugih istinskih pisama, pa sve do ćirilice i latinice). Naravno, takozvano 'vinčansko pismo' u nemirnim vremenima poljuljanih etničkih identiteta i političkih previranja na Balkanu prerasta u eklatantni primer zloupotrebe prošlosti u dnevnopolitičke svrhe. Nažalost poslednjih godina pojam 'vinčanskog pisma' - medijski lažno predstavljen kao nova i ravnopravna interpretativna paradigma - iz pseudonauke se, po principu spojenih sudova, preliva u širu javnost, pa čak i u arheologiju.The problematic term the Vinča script denotes a number of incised ornaments and signs on the surface of the pottery of the Vinča culture - one of the most important 'cultures' of the South Eastern European Neolithic. The modes of use and abuse of this phenomenon of and the very term the Vinča script have changed through time, eloquently testifying about the paradigm shifts in the European archaeology, at the same time indicating dangerous contaminations of archaeology by pseudo-archaeological ideas. During the 19th and first half of the 20th century, the idea of a script in the Neolithic cultures of South Eastern Europe surfaced occasionally as an argument for the short 'historical' chronology and Near Eastern influences. During the 1980s the idea of the Vinča script emerges again in Serbia, this time, as an invented tradition, from the pseudo-scholar circles, and is massively supported by the media. The Vinča script becomes the central motif of a much larger pseudoscholar movement: the invention of script is linked to praehistory of South Eastern Europe, allegedly from Paleolithic Mesolithic, Lepenski Vir, over the Etruscan, Lydian and other scripts, down to Cyrillic and Latin letters. Unfortunately, over the last years the term the Vinča script - falsely represented by the media as a new and equally valid interpretive paradigm - seeps into the general public discourse, and even into archaeology itself

Full Issue Artizein October 2020

Full PDF of the 2020 issue edited by Barbara Bickel with Guest Assistant Editor & Design by Darlene St. George

'Home - or a hole in the ground'? : spaces of possibility in African American literature.

This thesis argues for a unique relationship between African American literature and liminal space, predicated on the historical facts of North American slavery. While recent critics of African American literature have argued for the importance of historical and civic space in shaping racialised discourse, the· role of liminal space has not been well examined. This thesis examines texts by three African American writers - Harriet Jacobs, Ralph Ellison and John Edgar Wideman - and one Canadian Caribbean author, Nalo Hopkinson, to argue that their literary representations of liminality perform two functions: firstly, symbolising the experience of slavery and its attendant experiences of incarceration; and secondly, problematising mainstream categories of race and identity. By investigating the narrative construction of these liminal spaces, this thesis will extend the categories of 'African American' and the 'novel' in two important directions: towards the future and into the 'black Atlantic'. The following five chapters will address how the symbolic use of narrative liminality enables black writers to resist or appropriate the cultural and ideological structures imposed by white Europeans in the New World and also those structures later developed within a rapidly urbanising society. Firstly, Harriet Jacobs's slave narrative addresses the restrictive architecture of slavery and domesticity and, through Linda Brent's attic hideaway, Jacobs expresses a ·concern with endurance and female authority. The Ralph Ellison chapter examines the shifting nature of liminality and subjectivity in the post-slavery migration environment; Invisible Man's cellar engages with racialised tropes of deterrito'rialisation and desire. John Edgar Wideman addresses ideas of race and artistic responsibility in his treatment of a contemporary suburban bombsite, assessing the difficulty of achieving spaces of possibility in the face of racialised urban decay. Jhe concluding chapter uses Nalo Hopkinson's speculative fiction to challenge the essentialist construction of an African American liminal aesthetic by enacting its subversive qualities across the geographical boundaries of the black Atlantic. Hopkinson's projection of a racialised underground onto the new spaces of technology also disturbs traditional models of genre and discourse

Hellenostephanos. Humanist Greek in Early Modern Europe

The rebirth of Ancient Greek in Europe was promoted by Humanist education and ideas to such an extent that we can consider the Greek language as a formative element of Humanist culture. Next to Latin, the default common language, a Humanist has to know and use Greek, because he is not, cannot and will not be a barbarian: barbaros ou pelomai, as Julius Caesar Scaliger claimed in his verses in 1600. Wreaths (stephanoi) have been the symbols of the cult of Muses from ancient times. After the love for Greek Muses had been revived by Renaissance Humanist poets and scholars, it has remained with us both in poetic activity and in scholarship. The Hellenostephanos volume presents a collection of papers by scholars who study Humanist Greek, aspiring towards another revival of Hellenism, and trying to avoid being barbarians. The volume includes papers by Christian Gastgeber, Gita Bērziņa, Janika Päll, Charalampos Minaoglou, Erkki Sironen, Kaspar Kolk, Tua Korhonen, Johanna Akujärvi, Bartosz Awianowicz, Jean-Marie Flamand, Walther Ludwig, Alessandra Lukinovich, Martin Steinrück, Tomas Veteikis, Grigory Vorobyev, Vlado Rezar, Pieta van Beek, and Antoine Haaker

Moral values of Balts mythology in art lessons

Vertybinių nuostatų formavimas dailės pamokose atskleidžiant baltų mitologijos bruožus ir vertybes. Tikslas Atskleisti baltų mitologijos bruožus ir vertybes, sudaryti prielaidas jų sklaidai vizualinėje raiškoje. Hipotezė Pažintis su baltų mitologija praplečia mokinių kūrybinės veiklos diapazoną, skatina vaizduotės ir kūrybiškumo ugdymą. Uždaviniai 1. Apžvelgti baltų mitologijos vietą šiuolaikinėje visuomenėje ir mokymo sistemoje. 2. Išnagrinėti mokslinę, metodinę literatūrą baltų mitologijos klausimais. 3. Naujų, patrauklių jaunimui tautiškumo jausenos, lietuviškos savimonės stiprinimo būdų paieška. 4. Sukurti vizualinius kūrinius, padedančius supažindinti mokinius su baltų mitologija. 5. Atlikti kokybinius – kiekybinius tyrimus, nustatant, kokios senosios baltų mitologijos vertybės atsispindi šiuolaikinio jaunimo sąmonėj 11 – 12 klasių mokinių tarpe. 6.Nustatyti pedagogų požiūrį į baltų mitologiją ir panagrinėti jos vietą dalykinėse programose. Kokybiniai tyrimai. Giluminio interviu metodas pasitarnavo: 1. Apžvelgiant pagrindinius visatos sąrangos principus Technologijos mokslų daktaras V. Dineika 2. Nustatant moksleivių sąmoningumo laipsnį. 10 klasės moksleivė, folkloristė J. Čičirkaitė 3. Įvardinant įdomiausias etnokultūros šventes,skleidžiant baltų mitologijos vertybes Etninių tradicijų puoselėtoja E. Plioplienė 4. Įvertinant etnokultūrossvarbą, formuojant miesto kultūrinį veidą Etnokultūros centro darbuotoja M. Liugienė 5. Pabrėžiant folklorinių ansamblių darbo specifiką Muzikos mokytoja, folklorinio ansamblio vadovė DŽ. Kmieliauskienė 6. Nusakant inteligentijos požiūrį į susiklosčiusią kultūrinę situaciją Knygų leidyklos,,Žaltvykslė,, direktorius J. Krivas 7. Apibūdinant sodybos kaip mažos valstybės modelį Gamtininkas – dendrologas J. LeleikaThe aim To reveal the features and values of the Balt mythology in order to envisual art. Hypotezis Knoing the Balt mythology ridens the horizons of studens activities, develops imaginations and creativity Mythology and religion are the highest level of spiritual life. That is why religions belief very often was the couse of historic events. It is difficult to perclive the essence of some phenomena without those studies. This is the key to understanding of the care of folk songs, fairy tales and even the elements of folklore ornaments.The Balts dides’t invent their alphabet, thei dides’t lieve their religions texsts and rithuals. We can judge abaut their religion and kults from short messages in the chronicles of neighbouring countries or the reminiscence of travellers. After Lithuania was baptised many old religions things turned into traditions and customs. There are not enough data to reconstruct separate religious systems of the Baltic tribes. Researchess are confident of the main differences in Lithuanian Latvian or Prusian believs. Some elements of Indoeuropean substrato f ontlook kan be tranced as there are featuhres of totems and the cults of femini goddesses. According to the starter of archeomythology dr. M. Gimbutienė this is heritage of the old Europe. Structurized religions system corres pouding the society orf that time had pean tribes, its hierarchy is based on the threesome of Gods. ,,the whole old culture whick we call folk, traditional or ethnic started to form affected by religijon and mythology and a big part of it wos sacred, showing peoples religions indination, their mythical autlook and understanding. It we could call religijon and mythology the soul of the community ethnic culture coud be calld a mirror reffecting the soul. Therfore, if we want to understand the history of any community, customs, folklore, muzic and dances, folk art and architecture, the mode of dress, it is essential to knouw its religijon and mythology..,, ( Norbertas Vėlius) It is importent thing to overview the place of Balt mythology in modern society and educational system.Švietimo akademijaVytauto Didžiojo universiteta