MNEMOSINE: BIBLIOTECA DIGITAL DE LA OTRA EDAD DE PLATA (ORÍGENES, CONTENIDOS, PERSPECTIVAS)

Abstract: Powered by two research teams affiliated with the Complutense University of Madrid, LOEP and ILSA, Mnemosyne Digital Library selects, catalogs and makes visible in digital format texts belonging to a forgotten repertoire of Spanish literature between 1868 and 1936, thus allowing the necessary historical reevaluation of this period. Together with access to digitized books and the consultation of its database, Mnemosyne is an experimental field for modeling data from specific literary collections as well as the creation of interoperable semantic webs, generating quality research and innovation and new models for the literary study.Resumen: Impulsada por los grupos de investigación LOEP e ILSA de la Universidad Complutense de Madrid, la Biblioteca Digital Mnemosine selecciona, cataloga y hace visibles en formato digital textos pertenecientes a un repertorio olvidado de la literatura española entre los años 1868 y 1936, permitiendo así la necesaria revisión historiográfica de este periodo. Junto al acceso a libros digitalizados y a la consulta de su base de datos, Mnemosine representa un campo de experimentación para el modelado de datos de colecciones literarias específicas y la creación de redes semánticas interoperables, generando investigación e innovación de calidad y nuevos modelos teóricos de interpretación de textos literarios.Abstract: Powered by two research teams affiliated with the Complutense University of Madrid, LOEP and ILSA, Mnemosyne Digital Library selects, catalogs and makes visible in digital format texts belonging to a forgotten repertoire of Spanish literature between 1868 and 1936, thus allowing the necessary historical reevaluation of this period. Together with access to digitized books and the consultation of its database, Mnemosyne is an experimental field for modeling data from specific literary collections as well as the creation of interoperable semantic webs, generating quality research and innovation and new models for the literary study

Музикологија / Musicology (33 II/2022)

Опредељење Редакције часописа Музикологија да се посебна пажња ове године посвети звучним изворима у истраживањима музике резултирало је настојањем да се у броју 33, који је пред читаоцима, у оквиру рубрике Тема броја представе студије које доприносе проучавањима звучних и аудио-визуелних архива, пре свега у етномузикологији. Наиме, Музиколошки институт САНУ је 2021. организовао скуп Sound Heritage in Ethnomusicology: Approaches and Perspectives, те су овом приликом публиковани радови подстакнути учешћем на том скупу, као и доприноси других аутора истој теми. Студије истраживача који су одговорили на позив Редакције дају допринос проучавањима звучних и аудио-визуелних архива у етномузикологији – од преиспитивања улоге историјских снимака у друштву и систему нематеријалног културног наслеђа, преко представљања историјског покушаја оснивања националног архива, модела управљања архивом регионалне народне музике, потенцијала савремене технологије у употреби дигиталних колекција, до предлога манифеста примењене музикологије и представљања методологија аудио-визуелне етномузикологије. Педро Феликс даје изузетно користан рад о сопственом искуству на пројекту умрежавања нематеријалног културног и звучног наслеђа на примеру протугалског фада. Кроз пример употребе дигитализованих старих звучних снимака у каснијој интерпретацији поставља се питање утицаја и важности истраживача и професора приликом теренских контаката. Узорно осмишљен архив (заснован на поставци Латурове мреже људских и нељудских актера) показује како функционише демократичан архив. Критикујући архиве и академију као „браониоце” знања који утичу на заједнице, провокативно демонстрира како би архив требало у идеалном виду да изгледа у служби нематеријалног културног наслеђа. Драго Кунеј на основу архивских докумената доноси узбудљиву историју неуспелог покушаја првог набављања уређаја за снимање звука на терену у Словенији, од стране ентузијастичног филолога Карела Штрекеља. Први одступајући корак од бележења музичког фолклора западним нотним писмом и стварања нових метода и звучног архива био је недосегнут због неразумевања професионалних потреба и иновација, што остаје као поука за будуће доносиоце одлука у културним политикама. Абдула Акат и Озгун Арда Нурал представљају мисију и стратегију, као и изазове управљања аудио-визуелним архивом црноморске народне музике, који је 2011. године основан у Трабзону. Ослањајући се на actor/actant теорију Бруна Латура и на маркетиншку фокус-стратегију, успостављена су начела рада архива, у коjeм је посебна пажња посвећена дигиталној презервацији. Драгана Стојановић представља могућности употребе тзв. блокчејн технологије у архивистици, посебно звучној и аудио-визуелној. Ово ново средство базира се на уговорима између заинтересованих страна и отвара бројна етичка питања, која превасходно ипак морају бити решена у оквиру етномузиколошких истраживачких архива. Ивана Медић објављује манифест примењене музикологије и представља свој ранији ангажман који је инспирисан истом тежњом за утицајем у друштву, а који је спроведен испитивањем звучне екологије карактеристичне београдске четврти. У односу на радикалну променљивост звучног амбијента, истакнут је значај аудио-визуелних снимања као теренске методе којом се чувају различите врсте наслеђа и информација за будућа истраживања. Марко Луцу демонстрира лепезу сопствених активности у аудио-визуелној етномузикологији у Италији. Своје и архивске филмове користи у анализи, за потребе документарних филмова, у јавном (друштвеном) етномузиколошком активизму и у образовању (о чему сведоче и одабрани примери који прате рад). Његов циљ је да осветли улогу етномузиколога у стратегијама визуелног представљања музичке структуре и извођења, а тиме значајно доприноси развоју етномузиколошких методологија. Како је и пожељно, рубрика Varia доноси резултате истраживања музике из различитих перспектива – музиколога, етномузиколога, етнокореолога и историчара уметности, па је и завидан спектар тема које су разматране овом приликом. Рубрику отвара студија Иване Весић, која је представила до сада мало познату историју оперете у међуратном Београду. Она је истражила драгоцену архивску грађу и написе у штампи, те реконструисала појављивања и трансформације оперетских трупа и рад неколико оперских позоришта. У анализи контекста пажњу је посветила питањима државне културне политике и конкурентским сферама забаве и културе. Студија Немање Совтића усмерена је на композиторско стваралаштво на територији Војводине, с циљем фундирања регионалне историјске синтезе, варијантне у односу на представљене у досадашњим музичким историографијама. У том правцу он продукцију композитора с ових простора сагледава у друштвено-историјском и музичко- историјском контексту. Следи студија Милана Милојковића, која је посвећена продору рачунара у продукцију популарне музике на југословенским просторима. Овај процес одвијао се током друге половине осамдесетих година прошлог века, а аутор је идентификовао коришћену опрему, утврдио начин рада на њој и указао на резултате остварене одређеном технолошком новином. У наставку рубрике налазе се радови повезани са сферама традиционалне музике и плеса. Пажња Анђеле Гавриловић усмерена је на приказе кордофоних музичких инструмената у сцени Ругања Христу у српској средњовековној уметности. Тумачење њиховог значења она заснива на контекстуалној и компаративној анализи, посебно у односу на приказе пророка Давида, такође с кордофоним инструментом у рукама, те интерпретације тог инструмента у делима црквених писаца средњег века. Рад Весне Бајић Стојиљковић доноси разматрање метажанра сценске народне музике у историјској перспективи, посебно из правца коришћења традиционалне музике у сценским кореографским делима. На основу примера који је понудила, она говори о развоју сценске народне музике под утицајем музике за игру, као жанра традиционалне музике, али и уметничке музике инспирисане традиционалном музиком. На разматрање односа музике и игре надовезује се рад Маје Красин Матић, која се тим односом бавила кроз истраживања учења и памћења кореографије народне игре. Свој прилог она је поставила као подстицај интердисциплинарности у проучавању музике и игре и афирмацију аспеката когнитивних истраживања у оквиру студијских поља етномузикологије и етнокореологије. У овом броју Музикологије текстови у рубрици Научна критика и полемика односе се на издања која упечатљиво илуструју савремене студије музике и плеса, као прилично или сасвим нова – овогодишња издања, а с друге стране, као махом зборници радова међународног профила. Први међу представљенима је зборник чија је тема (ре)позиционирање и (пре)обликовање музике у постсоцијализму у земљама чије су сложене друштвене и културне трансформације започеле падом Берлинског зида (аутор приказа Николаје Георгица). Следи анализа зборника који се односи на рану дискографску индустрију кроз указивање на актере, просторе и места изван главног наратива (о најзначајнијим издавачима, извођачима и слично), формираног кроз досадашња истраживања ове теме (аутор Марија Маглов). Наредно представљено издање сведочи у прилог значају систематичног истраживања одређених музичких феномена: реч је о четвртом издању у едицији Еuropean Voices посвећеној вишегласју, које овај феномен разматра на примерима инструменталне музике (приказ Зоране Гуја Дражета). Као „прво суседство” наука о музици, у овом контексту релевантно је и издање посвећено Јаношу Фугедију, мађарском етнокореологу, које садржи првенствено текстове истраживача мађарског плеса, али и резултате истраживања других плесних традиција (аутор Катарина Николић). На други начин „побочно релевантна” за науке о музици су издања која нису из пера научних истраживача, али доносе резултате студиозног бављења одређеним темама, попут издања посвећеног Енрику Јосифу, композитору и свестраној музичкој личности (приказ Марије Голубовић). Ове године српска научна заједница доживела је тежак губитак одласком др Селене Ракочевић, етномузиколога и етнокореолога, којој у име колектива Музиколошког института САНУ одаје почаст својим текстом Катарина Николић. Радећи у корист науке и научне заједнице, редакција часописа Музикологија захваљује др Марији Думнић Вилотијевић за ангажовање на позицији гошће- уреднице за рубрику Тема броја. У оквиру припреме рукописа студија за објављивање у обема сталним рубрикама часописа и овом приликом су од изузетне важности били разумевање и подршка колега који су прихватали улоге рецензената и одговорно се залагали за унапређење студија, те им се свима још једном искрено захваљујемо.The decision of the editors of the journal Musicology that this year we should pay more attention to sound sources in music research has guided the effort to contribute with the Main Theme to the study of sound and audio-visual archives, primarily in ethnomusicology. In 2021 the Institute of Musicology SASA organised the conference Sound Heritage in Ethnomusicology: Approaches and Perspectives. Some of the articles in this issue originated from the papers presented at the conference, whereas other authors responded to the invitation of the Editors to contribute their original research on the same topic. All articles in the Main theme add to the study of sound and audio-visual archives in ethnomusicology – from the questioning of the role of historical recordings in society and the system of intangible cultural heritage (ICH), through the presentation of the historical attempt to establish a national archive, the management model of the regional folk music archive, the possibilities to use advanced modern technology in digital collections, to the proposal of a manifesto of applied musicology and the presentation of methodologies in audio-visual ethnomusicology. Pedro Félix has written an extremely useful article about his own experience on the project of networking intangible cultural and sound heritage, using the example of Portuguese fado. His demonstration of the use of digitised old sound recordings and their subsequent interpretation raises the question of the influence and importance of researchers and professors for contacts made during fieldwork. His exemplary archive (based on Latour’s network of human and non-human actors) shows how a democratic archive works. Whilst criticising archives and the academy as “defenders” of knowledge that influences communities, Felix provocatively demonstrates how an archive should ideally serve intangible cultural heritage. Based on the study of archival documents, Drago Kunej brings an exciting history of the enthusiastic philologist Karel Štrekelj’s first, unsuccessful attempt to acquire a sound recording device in Slovenia. The first step away from the mere recording of musical folklore in Western notation towards the establishment of new methods and a sound archive could not be reached, due to a lack of understanding of professional needs and innovations. This example serves as a lesson for future decision-makers in cultural policies. Abdullah Akat and Özgün Arda Nural present the mission and strategy, as well as the challenges of managing the audiovisual archive of the Black Sea folk music, founded in Trabzon in 2011. Relying on the actor/actant theory of Bruno Latour and the marketing focus-strategy, they established the principles of the archive in which special attention was paid to digital preservation. Dragana Stojanović presents the possibilities of using the so-called blockchain technology in archival work, especially in sound archives and audio-visual archives. This new tool is based on contracts between interested parties and opens up numerous ethical questions, which must be resolved primarily within ethnomusicological research archives. Ivana Medić publishes a manifesto of applied musicology and presents her earlier engagement, which was inspired by the same aspiration for influence in society, and which was carried out by examining the sound ecology of Savamala, a characteristic Belgrade neighborhood. She highlights the importance of audio-visual recordings as a field method for preserving different types of heritage and information for future research, due to the radical changeability of the sound environment. Marco Lutzu demonstrates the range of his own activities in audio-visual ethnomusicology in Italy. He analyses his own and archival films, for the purpose of documentary films, in public (social) ethnomusicological activism and in education (as evidenced by the selected examples accompanying the text). His goal is to shed light on the role of ethnomusicologists in the strategies of visual representation of musical structure and performance, thereby significantly contributing to the development of ethnomusicological methodologies. The section Varia brings the results of music research from different perspectives of musicologists, ethnomusicologists, ethnochoreologists and art historians, so there is an enviable range of topics discussed on this occasion. The section opens with Ivana Vesić’s study, which presented the hitherto little-known history of operetta in interwar Belgrade. She has researched valuable archival materials and printed articles and reconstructed the appearances and transformations of operetta companies and the work of several opera theaters. In the analysis of the context, she paid attention to issues of state cultural policy and competing spheres of entertainment and culture. Nemanja Sovtić's study is focused on composers from Vojvodina, with the aim of establishing regional historical synthesis and offering an alternative to that presented in previous music historiographies. Furthermore, he looks at the production of composers from this geographic area in socio-historical and musical-historical contexts. This is followed by Milan Milojković’s study dedicated to the penetration of computers into the production of popular music in Yugoslavia. This process took place during the second half of the 1980s. Milojković has identified the equipment that was being used and the ways of working with it and highlighted the results achieved by certain technological innovations. The section Varia continues with articles related to the spheres of traditional music and dance. Anđela Gavrilović’s attention is focused on the representations of chordophone musical instruments in the scene of the Mocking of Jesus in Serbian medieval art. She bases the interpretation of their meaning on contextual and comparative analysis, especially in relation to depictions of the prophet David, also with a chordophone instrument in his hands, and the interpretation of that instrument in the works of medieval church writers. Vesna Bajić Stojiljković discusses the meta genre of stage folk music from a historical perspective, especially from the direction of using traditional music in staged choreographic works. Based on the overview presented in the first part, she then talks about the development of stage folk music under the influence of dance music, as a genre of traditional music, but also of art music inspired by traditional music. The consideration of the relationship between music and dance continues with Maja Krasin Matić’s article, which deals with this relationship by focusing on learning and memorising folk dance choreography. She presents her contribution as an incentive for interdisciplinarity in the study of music and dance and an affirmation of aspects of cognitive research within ethnomusicology and ethnochoreology. In this issue of Musicology, the texts in the section Scientific Reviews and Polemics refer to publications that remarkably illustrate contemporary studies of music and dance, including fairly recent or completely new books, published this year, and in most cases, of a broad international profile. The first among those is Nicolae Gheorghita’s review of a collection of essays dedicated to the (re)positioning and (re)shaping of music in post-socialism in countries whose complex social and cultural transformations began with the fall of the Berlin Wall. Marija Maglov analyses the collection related to the early record industry by pointing out the actors, spaces and places outside the main narrative (about the most important publishers, performers, etc.) established through previous research on this topic. The next presented edition, reviewed by Zorana Guja Dražeta, testifies to the importance of systematic research of certain musical phenomena: it is the fourth edition in the European Voices series dedicated to multipart music, which examines this phenomenon using examples of instrumental music. Relevant as the “next of kin” to ethnomusicology, the edition dedicated to Hungarian ethnochoreologist János Fügedi, which primarily contains texts by researchers of Hungarian dance, but also the results of research into other dance traditions, is reviewed by Katarina Nikolić. Also “tangentially relevant” for music sciences are editions written not by professional researchers, but which nevertheless contain the results of studious dealing with certain topics; such is the edition dedicated to Enriko Josif, a composer and versatile musical personality, here reviewed by Marija Golubović. This year, the Serbian scientific community experienced a heavy loss with the premature passing of Dr Selena Rakočević, ethnomusicologist and ethnochoreologist; Katarina Nikolić pays tribute to Rakočević, on behalf of the entire faculty of the Institute of Musicology SASA. The editorial staff of the journal Musicology thanks Dr Marija Dumnić Vilotijević for accepting the position of guest editor for the Main Theme and working for the benefit of science and colleagues. During the preparation of the manuscripts for publication in both permanent sections of the journal, the understanding and support of colleagues who accepted the roles of reviewers and responsibly advocated for the improvement of the articles were extremely important, and we sincerely thank them

Survivances: Translating Cultural Memory in Quebec

My research integrates three fields—translation studies, memory studies and Quebec studies—to study translation and cultural memory in the Quebec context. Focusing on intersections of national, migrant and Indigenous memory, it seeks to elucidate the role that translation plays in the construction and circulation of cultural memory across languages, cultures and affiliations. It proposes three angles of analysis, each of which focuses on a different facet of memory and translation. The first, TRANSLATION AS REWRITING, examines Michèle Lalonde’s 1968 Quiet-Revolution-era poem “Speak White,” situating it as a site of national memory and identity and tracing its afterlives in intra- and interlingual translations and adaptations. The second, TRANSLATION AS COUNTER-MEMORY, focuses on the 1970s counter-cultural periodical Mainmise to examine collective memory as a translational phenomenon based on re-identification and retemporalization—the construction of alternative collective references through cultural borrowing and transfer. The third, TRANSLATION AS RECLAMATION, explores the role that translators play in reclaiming and transmitting cultural memory through different forms of linguistic and cultural (self) translation, focusing on the works and trajectories of Cree-Algonquin writer Bernard Assiniwi and Innu poet Joséphine Bacon. Issues surrounding language, memory and identity have been abundantly explored in Quebec from historical, sociological and literary perspectives. This thesis approaches these questions from a slightly different angle by shifting the focus squarely onto translation as both a vehicle of memory and memory process in itself. Any discussion of translation and memory inevitably evokes notions of fidelity to or affinity with an originating source, be it a symbol, text or artefact, a story, performance or event, a place, individual or community. Confronted with change, alterity or trauma, these sources can be undermined, assimilated or even erased, but they can also be renewed, transposed and liberated into new forms, giving rise to different resolutions along a continuum of similarity and difference, of continuity through transformation. Through an examination of key literary works and other sites of memory-encounter and cultural production, this thesis sheds light on moments or instances of identitary crisis, rupture and unfolding that highlight the translational, emergent nature of meaning, memory and identity and foreground the diverse and complex ways that their survivance is assured by the very act of their transformation

Strategies for reconstructing and restructuring of museums in post-war places (National Museum of Aleppo as a Model)

This research presents the status of Syrian museums during the conflict from destruction to protection efforts, with proposals for post-war reconstruction, focusing in particular on Aleppo national museum as a model. Since the situation of Syria after the war is yet unknown; therefore, it is uncertain which direction will be followed in rebuilding damaged museums in Syria. Whether there will be enough financial resources to build a new museum or to only use the current buildings and reconstruct them. This thesis aims to create strategies for reconstructing and restructuring of Aleppo national museum - so they are ready in case of any decision- in post-war times. The first chapter begins with the definition, importance of the museum and the history of the archaeological museums in Syria. In chapter 2, I described the status of Syrian museums during the conflict with a focus on museum damage such as shells, clashes damage, armed attack, looting, theft, and terrorism. In addition to presenting, the protection measures taken by the Directorate General of Antiquities & Museums, non-governmental organizations, and international efforts. At the end of this chapter, the damage to the houses of the archaeological missions has been explained. In chapter 3, I presented the National Museum of Aleppo as a model. This chapter begins by explaining the history of the museum and an overview of its contents before the war (sections, halls, gardens, and museum storages). In addition, the museum situation was presented during the conflict, risk types and threats, destruction and damage, protection measures (Documentation, transfer of removable objects, protection of the immovable objects and the difficulties in protection efforts). At the end of this chapter, the results of protection efforts during the conflict have been presented. Chapter 4, I focused on the future of the Aleppo Museum after the war. It begins to explain the importance of having strategies in reconstructing and restructuring. This chapter also is to take advantage of previous experience of the museums, which have a similar situation of neighbouring countries such as, Beirut museum, Iraqi museum of Baghdad, and the national museum of Afghanistan. Moreover, lessons to be learnt from the modern museums in Switzerland (Antikenmuseum Basel, museum Rietberg in Zurich and Bernisches Historisches Museum), and in other countries through its ongoing visit and interviews with its officials. In chapter 5, I presented the restructuring scenario in the same building. At first, I presented the previous errors committed at the national museum of Aleppo before the conflict. As well as, I made suggestions for the restructuring of human resources in the museum by analyzing the status of museum staff before and during the conflict, with an emphasis on the need to prepare a good team for the reconstruction phase such as museum Director, Directors of museum sections, technical sections, department of museum development, security and guarding. In this context, I explained some examples of activities conducted by the University of Bern and UNESCO for Syrian colleagues. In this chapter, proposals were made for a New Permanent Exhibition at the museum, where the chronological order will be preserved. Section of Prehistoric, Near Eastern Antiquities, Classical, Arab-Islamic, and Modern art. The halls have been redistributed from the prehistoric section to modern art. In addition, proposals were made to open new galleries in the museum, such as Aleppo museum during the war, achievements of the prehistoric humans in the Neolithic period in prehistoric section; Hall of Aleppo during the ages, Tell Umm el-Marra hall, and rescue excavations hall in Near Eastern Antiquities section, etc. Most of the museum collections were studied to provide the artefacts in the halls with the necessary explanations. In chapter 6, I presented a preliminary plan of a new Museum of Aleppo inspired by the plan of one of the historical buildings in Aleppo, as the second scenario in the reconstruction and restructuring phase. With a Suggestion of a parallel exhibition in the museum beside the permanent exhibition according to a thematical order. This would be more modern to show historical development and traditions throughout the periods. In chapter 7, I explained the relationship between the museum and the community with a focus on the importance of participation of all in the reconstruction and restructuring of the heritage after the war, where heritage facilities, such as museums, can be utilized to raise the public awareness of the importance and value of this heritage as well as to promote a community's ownership of this cultural heritage. Besides, I presented the museum as an educational centre because heritage education is a necessity and can be accomplished through museums, schools, and community projects. In the postwar period, it will be necessary to activate the educational role of the museum through various activities. For example, a radical change in museum exhibitions, in particular, the explanations, information, and the stories told by those artefacts; organize the relationship between the museum and the school; use of modern technologies; workshops and various activities; temporary exhibitions and museum publications. In chapter 8, the conclusions (Identify strategies), it contains a summary of the six strategies for reconstruction and restructuring of the National Museum of Aleppo as the results of this thesis

Broadsheets

A landmark study of single-sheet publishing during the first two centuries after the invention of printing. Long disregarded as ephemera or cheap print, broadsheets emerge as both a crucial communication medium and an essential underpinning of the economics of the publishing industry.; Readership: Historians of the book, media history and news, bibliographers and librarians, and those interested in the politics, government, religion and literature of the early modern period

Broadsheets

A landmark study of single-sheet publishing during the first two centuries after the invention of printing. Long disregarded as ephemera or cheap print, broadsheets emerge as both a crucial communication medium and an essential underpinning of the economics of the publishing industry.; Readership: Historians of the book, media history and news, bibliographers and librarians, and those interested in the politics, government, religion and literature of the early modern period

Das Christentum im frühen Europa

During the transition from late antiquity to the early Middle Ages, the geographical space of Europe was Christian and Christianity was “European.” The essays present the major theological discourses and decisions of that epoch that helped shape Church and society – from political regents to Church catechesis

Kenyon College Course Catalog 2020-2021

https://digital.kenyon.edu/coursecatalogs/1213/thumbnail.jp

Kenyon College Course Catalog 2021-2022

https://digital.kenyon.edu/coursecatalogs/1214/thumbnail.jp