Childhood in Medieval Autobiography
The article discusses research perspectives in the study of Russian pre-modern first-person writings that are commonly called autobiographies. Its first part starts with definitions of what is “early Russian” and “autobiographical,” briefly introduces six texts, gives a condensed review of the approaches to the study of these texts by literary and cultural historians from 1950s to present, and concludes with suggestion of some new perspectives to their analysis. The article argues that re-questioning of early Russian autobiographical writings is prompted by some recent important changes in the humanities and social sciences and by some insights from historians and literary scholars that study first-person texts of the Western tradition. The second part of the article is a case-study that examines one autobiographical text, The Life (Zhitie) of monk Epifanii (? – 1682) and focuses on one topic: representation of the hero/author’s pain and healing. The analysis of this representation is conducted in relation to concrete social and political contexts of the text. The study concludes that contextualizing pre-modern first-person narratives as social activities embedded in historically specific reality helps in better understanding of their meanings.
The article focuses on the most famous Russian pre-modern autobiography The Life by protopope Avvakum (1621/22–1682) to discuss his wife Natas’ja Markovna as one of its essential characters. Being the leader of the movement against religious reform in the seventeenth century Russia, Avvakum composed his life story in accordance with hagiographical canon of the martyr to send a propaganda message to his followers. The figure of Natas’ja Markovna in his text also works for this aim. In accordance with women’s hagiographic canon she is portrayed as wife and mother completely subjected to her husband’s will and doomed to share all hardships of his life. Though Avvakum’s autobiography was widely read, this religious/social context was often understood as insignificant for understanding its meanings. The same is true for the figure of the protopopica, which was used by Russian scholars and writers of the twentieth century to establish a canon of the model wife.
The article analyzes how modernism is represented in two Wyndham Lewis’s autobiographies, «Blasting and Bombardiering» (1937) and «Rude Assignment» (1950). The author’s reflection on modernism is considered within the context of his critical attitude towards the autobiographical in modernist novel and taking into account the changes in his autobiographical intentions from one book to the other. The article concludes that in Lewis’s far from experimental use of autobiography the latter acts as a means of definition, popularization and justification of his conception of modernism considered to be, just as his autobiographies, an act of detachment rather than exploration of subjectivity.
This article discusses the legend of Saint Alexius from the perspective of the “discovery of the individual,” an issue that for many decades has been intensively debated by historians of European culture.
Twenty-four papers examine the state of early childhood development among sub-Saharan Africa's children. Papers discuss the state of young children in sub-Saharan Africa; positioning early childhood development (ECD) nationally--trends in selected African countries; early childhood care and education in sub-Saharan Africa--what it would take to meet the Millennium Development Goals; brain development and ECD--a case for investment; new threats to ECD--children affected by HIV/AIDS; ECD in Africa--a historical perspective; (mis)understanding ECD in Africa--the force of local and global motives; fathering--the role of men in raising children in Africa--holding up the other half of the sky; ECD policy--a comparative analysis in Ghana, Mauritius, and Namibia; participatory ECD policy planning in Francophone West Africa; responding to the challenge of meeting the needs of children under three in Africa; introducing preprimary classes in Africa--opportunities and challenges; inclusive education--a Mauritian response to the "inherent rights of the child"; parenting challenges for the changing African family; ECD and HIV/AIDS--the newest programming and policy challenge; supporting young children in conflict and postconflict situations--child protection and psychosocial well-being in Angola; strategic communication in early childhood development programs--the case of Uganda; the synergy of nutrition and ECD interventions in sub-Saharan Africa; the impact of ECD programs on maternal employment and older children's school attendance in Kenya; the Madrasa ECD program--making a difference; linking policy discourse to everyday life in Kenya--impacts of neoliberal policies on early education and childrearing; community-based approaches that work in Eastern and Southern Africa; whether early childhood programs can be financially sustainable in Africa; and a tri-part approach to promoting ECD capacity in Africa--ECD seminars, international conferences, and the Early Childhood Development Virtual University. Garcia is Lead Human Development Economist in the World Bank's Human Development Department, Africa Region. Pence is Director of the Early Childhood Development Virtual University and Professor in the School of Child and Youth Care, Faculty of Human and Social Development, at the University of Victoria. Evans is Director Emeritus for the Consultative Group on Early Childhood Care and Development. Index.
The article describes the structures of autobiographical narration in the novels and essays of the austrian writer E. Canetti.
Claiming that that the history of the London-based Strand Magazine started with Russian literature would be understandably far-fetched but not extravagantly misleading: the episode with the notorious short novel The Kreutzer Sonata by Leo Tolstoy infamously led to the rift between the enfant terrible W.T. Stead and the future founder of the Strand George Newnes. The deal-breaking disapproval of Tolstoy’s scandalous opus did not, however, result in Newnes’ utter rejection of Russian literature. His new magazine, established shortly after the conflict, was neither straightforwardly Russophile nor openly or implicitly Russophobic unlike many of the periodicals enchafed by the turbulent “Tournament of Shadows”. At the early stages of its existence, the newly founded magazine demonstrated an explicit predilection towards translated rather than domestic fiction, with translations from Russian occupying an important niche among other national literatures. While favouring the renowned, canon-approved authors, such as Alexander Pushkin and Mikhail Lermontov, the early Strand also displayed a tendency to select the works which could be read as adventure or “healthfully” sensational stories thus conforming to the magazine’s genre policies (predominantly gothic Queen of Spades, multigenred Belkin Tales, nocturne-flavoured Tamagne from A Hero of Our Time). The texts were prefaced by introductory notes, enticing yet unconcerned with factual accuracy (e.g., Lermontov was described as a “fair-haired” man with “large blue eyes”). The notes attempted to both “domesticate” the selected authors and retain the international couleur locale while finding suitable English counterparts for the writers of choice (“Russian Othello”, “Byron of North”). The paper will trace the ever-evolving role of Russian fiction in the magazine’s history, from the aforementioned early instances to the peculiar Edwardian and post-Edwardian cases when the translations became more eclectic in nature, ranging from Ivan Turgenev’s ghost story and Tolstoy’s moralistic pieces to the middlebrow stories by Vasily Nemirovich-Danchenko and a modernist oeuvre by Leonid(as) Andreev. The paper intends to outline the strategies of selecting the “Russian material” for the lower middle class readers not only in the context of the Strand’s editorial policies but also as a part of the “middlebrow” Anglo-Russian cultural transfer mechanisms.
The article analyses the debates among the South African establishment on the Land issue and a possible amendment to the Constitution which would enable the government to expropriate land without any financial compensation. It is crucial to note that the Land reform is currently high on the agenda of the South African society, to say the least. Debates on the expropriation of land without compensation were resumed in the country shortly after December 2017 when ANC announced its readiness to reconsider article 25 of the Constitution, the article which stipulates property rights for land. Whereas there is a common understanding in South Africa that the land issue is to be addressed as soon as possible, opinions on how to achieve this goal differ significantly. Proceeding from their field research conducted in South Africa, the authors analyze the stand of the modern church organizations and social movements on the Land reform. The question hanging in the air is whether it is acceptable to expropriate land in order to fix the housing crisis in the South African megalopolises. Also, the article attempts to consider the Land reform as a possible solution to the housing crisis in South Africa. All things considered, the Land reform is a multifaceted issue with too many stakeholders, including government and different social, traditional and religious groups. In a nutshell, the Land reform is a Catch 22 situation where any move could be fraught with serious repercussions.
The visual art of the last decades privileges, explicitly or implicitly, social rather than art historical or aesthetic issues. In sites ranging from university classrooms and journals to museums and biennials, the emphasis is usually put on how effectively art handles the social issues of the day while questions of aesthetic value are often treated as suspicious and ideological. Given this anti-art character in these contexts of mediation, the insistence to perceive the objects as artistic objects constitutes a paradox that has been rarely discussed in sociological terms. This article draws on ethnographic research in order to explore “biennial art” that is to say the art that displayed in contemporary art and international platforms of showcasing. These platforms struggle to maintain a concept of art as social practice while at the same time nurture an exclusive and highbrow environment in which “artfulness” is key. I call this quality artfulness so as to both underline its artificiality as well as the inventiveness and skills required for its production. Artfulness in these sites is enabled through various formal or informal rituals of valorization, including guided tours, curatorial statements, media promoting activities and artist talks. These rituals, positioning certain objects within the sphere of art and producing them as objects meriting aesthetic interpretation, resemble the politics of publicity found in aesthetic capitalism at large.