Suchergebnisse

This paper describes 1999 research intended to shed light on the causes and effects of the devastating 1997-98 forest fires in East Kalimantan. The author visited six communities and interviewed representatives of several other stakeholders (oil palm plantations, industrial timber plantations, timber companies, local government officials) about the causes and effects of the fires. She describes the traditional fire management techniques known by the Kenyah (a dayak group) in several locations. The fires varied considerably in intensity and damage done, among the communities. But some sustained very severe damage to their environment and suffered serious health consequences (both physical and psychological). The paper concludes by estimating the relevance of ten propositions relating to the likelihood of fire danger to each of the six villages visited.

Although Rousseau's treatment of his children has provoked much controversy, sustained and scholarly discussions are rare. This study is the first to present the evidence comprehensively and systematically. It engages each of Rousseau's contentions about his children in order to carefully discern the significance of this episode for his life and work. It offers an analytical table of each rationale-nineteen different ones, of five major types. It discusses documents of 1751 and 1778 which strongly defend the actions, the ambiguous arguments in the Second Part of the Confessions (1769-1770), the oscillations in the period surrounding the Confessions (1764-1770), and finally the development of unqualified remorse in the middle period of Emile (1757-1762). It concludes by advancing a middle position between those who ultimately see his behaviour and associated excuses as demonstrating his unchecked individualism and subjectivism, and those who ultimately absolve this episode in order to find him a moralist in good standing. [Copyright Elsevier Ltd.]

What do a nineteenth-century ethnographic exhibit and a twenty-first-century museum website tool have in common? More than one might expect. Belgium's 1897 International Exposition included a colonial exposition that displayed panoplies and dioramas of items taken under colonial violence in what is today the Democratic Republic of the Congo. These objects came to form the initial collection for Belgium's Royal Museum for Central Africa, an institution that has in recent years underwent a period of renovation and expansion (reopening in 2018) with the aim of revisiting its history and displays. To create engagement with the museum, its website has offered a feature that allows visitors to curate virtual image boards of objects from the collection, with resulting effects semantically linked to the 1897 Brussels exposition. This online tool, while stemming from an admirable impulse to share curatorial control, falls short by juxtaposing items that tell of traumatic histories with no criticality or contextualizing information. Analyses of visual configurations of this tool, along with comparative examinations of the 1897 displays, offer evidence for this argument, as well as an example of how collections that represent painful histories call for especially thoughtful design of digital, publicfacing tools. ; Ovaj rad propituje i kritizira vizualne efekte primjene revijalnoga muzejskog postava [panoply display], bez ikakvih kontekstualnih informacija, u dva povezana slučaja. Prva je kolonijalna izložba na belgijskoj Svjetskoj izložbi 1897. godine, na kojoj je tisuće predmeta iz belgijskog Konga bilo izloženo u skupinama formiranima po estetskom načelu, bez pripadajućih legendi, često ambijentalno popraćenima skulpturama i muralima suvremene belgijske izrade. Drugi slučaj ovakvog načina izlaganja koji se razmatra u članku značajka je jedne internetske stranice na kojoj korisnici sami biraju digitalne prikaze različitih predmeta iz muzejske zbirke poput afričkih ritualnih predmeta, oruđa i primjeraka životinja te belgijskih kolonijalnih medalja, sporazuma, pušaka, odjevnih predmeta, pa čak i okova. Pod krilaticom "Napravite vlastiti muzej Afrike", ovaj je alat osmišljen povodom ponovnog otvaranja Kraljevskog muzeja središnje Afrike (Royal Museum for Central Africa), belgijskoga kolonijalnog muzeja koji je izrastao iz izložbe 1897. godine. Zaključna je teza članka da primjenom revijalnog načina izlaganja [panoply display], čak i u digitalnom obliku, ovaj alat, koji je sličan aplikacijama poput Pinteresta ili Instagrama, slučajno grupira izloške na način koji sugerira nekritički stav o belgijskom kolonijalizmu, slično izložbi 1897. godine koja ga je veličala. Fokus je stavljen na uključivanje modela tamnopute ruke od smole koja, fotografirana za ovaj alat na bijeloj pozadini, izgleda kao da je odsječena. Ovaj izložak, grupiran s ostalim eksponatima u internetskom sučelju, podsjeća na užasnu praksu odsijecanja i skupljanja ruku domorodačkih naroda središnje Afrike koju su pokrenuli belgijski kolonizatori. Kao dodatna argumentacija u ovom se članku upotrebljava i metodologija usporedne vizualne analize koja se primjenjuje na fotografije izložbe iz 1897. godine i na snimke zaslona suvremenoga internetskog alata. Drveni sarkofag naroda Ntomba s područja današnje Demokratske Republike Kongo pojavljuje se na fotografijama kolonijalne izložbe, kao i u digitalnom alatu te služi kao poveznica između ova dva trenutka muzejskog postava. Analiza ovih dvaju izložbenih rješenja dotiče se povijesti belgijskog kolonijalizma, formiranja kolekcije Kraljevskog muzeja središnje Afrike i nedavnih napora Muzeja da osuvremeni svoj imidž i poruku. U razmatranju različitih elemenata i vizualnih efekata alata My Africa Museum, članak postulira da je teško postići ravnotežu u posredovanju između doprinosa stručnjaka i uključenosti zajednice u muzej, posebno kada je zbirka muzeja izravni rezultat kolonijalnog imperijalizma i nasilja. U zaključku članak razmatra obnovljeni ikonoklazam koji je u Belgiji usmjeren protiv simbola i prikaza kralja Leopolda II. Dok se zemlja bori sa svojom prošlošću, a Kraljevski muzej središnje Afrike pokušava se osuvremeniti, posebna pažnja koja se inače poklanja prikazima i spomenicima mora se primijeniti i na digitalne oblike izlaganja kako bi se izbjeglo ponavljanje zastarjelih i imperijalističkih epistemologija.

Abstract: The new electoral authoritarian regimes of the post–Cold War era have formally adopted the full panoply of liberal-democratic institutions. Rather than rejecting or repressing these institutions, they manipulate them.

Solid waste is not just an issue for city authorities, but also for doctors, psychologists, economists, and climatologists, among others. This new book covers the full panoply of topics in solid waste management and offers an overview of relevant literature.

"Explores how Ole Miss and other Southern universities presently contend with an inherited panoply of Southern words and symbols and "Old South" traditions, everything that publicly defines these communities--from anthems to buildings to flags to monuments to mascots"--

Strategy in Information and Influence Campaigns sets out in comprehensive detail the underlying assumptions, unifying strategy, and panoply of tactics of the IIC, both from the perspective of the protagonist who initiates the action and from that of the target who must defend against it.