OJS at Oregondigital.org (Oregon State University / University of Oregon)
Not a member yet
2079 research outputs found
Sort by
Mulberries and Twisted Squares: Some Questions
Full text linkMulberries And Twisted Squares: Some Questions, By Peter Francis, Jr. (1987, 11:8-12
More on the “Unusual Modern Bead (?) from China,”
Full text linkMore On The “Unusual Modern Bead (?) From China,” By Karlis Karklins (1996, 29:7
Jewelry from Moose Droppings
Full text linkJewelry From Moose Droppings, By The Ottawa Citizen (1987, 11:14-15
Some Observations on “Fustat Beads,”
Full text linkSome Observations On “Fustat Beads,” By Maud Spaer (1993, 22:4-11
References Cited
Full text linkReferences Cited in Beads from Gablonz.
During the 19th and 20th centuries, Gablonz in northern Bohemia (now Jablonec nad Nisou in the Czech Republic) was a major producer and supplier of glass and ceramic beads to the world market. This production center created beads of myriad forms, using all the major manufacturing methods. This detailed study provides a thorough overview of the various methods including patent details as well as information concerning bead names, shapes, coloring, decoration, sizing, stringing, and historic prices. The text is accompanied by numerous illustrations of the beads under discussion and the tools and apparatuses used to make, size, and string them. There is also a well-illustrated section on the pre-1913 sample cards of two major Gablonz companies, the Redlhammer Brothers and the Mahla Brothers.
 
Un escenario de guerra: La frontera en postales y películas de la Revolución mexicana
No full textMultiple images in different formats, such as postcards and films, documented a scenario of war on the border during the Mexican Revolution. In the following article, I explore these images by critically observing the depiction of executions, corpses, ruins, and mass displacement. To explore these images, I consider the theoretical contributions of infrapolitics regarding the connections between time, image, and history. Taking these links into account, I point out that the images depicting the catastrophe of war serve as materials for a historical memory, contrasting the whitewashing of violence with the monumental representation of the past. To problematize this memory, I focus on two relevant moments in which the techno-militarization at the border triggered a widespread phenomenon of image production by photomechanical means. First, I address the postcards of the US Army’s Punitive Expedition against Pancho Villa between 1916 and 1917, mainly attributed to photographer Walter Horne, co-founder of the Mexican Photo War Company in El Paso, Texas. Second, I examine the film footage produced by the Mutual Film Corporation in northern Mexico in early 1914.Múltiples imágenes en diferentes, tales como postales y películas, registraron un escenario de guerra en la frontera durante la Revolución mexicana. En el siguiente artículo, abordo estas imágenes observando críticamente el registro de ejecuciones, cadáveres, y campos de refugiados. Para abordar estas imágenes, me enfoco en los aportes teóricos de la infrapolítica en torno a los nudos entre el tiempo, la imagen y la historia. Considerando estas conexiones desde una reflexión infrapolítica, observo cómo estas imágenes exhiben el horror de la guerra en la frontera y son memoria de una experiencia de catástrofe, a contrapelo del blanqueamiento de la violencia y la representación monumental del pasado. Para ello, considero dos casos en los cuales la tecno-militarización de la frontera gatilló un fenómeno de producción masiva de imágenes por medios fotomecánicos. Primero, las postales asociadas a la Expedición Punitiva contra Pancho Villa entre 1916-17, principalmente atribuidas al fotógrafo Walter Horne, co-fundador de Mexican Photo War Company en El Paso, Texas. Segundo, el registro en imágenes en movimiento producido por la Mutual Film Corporation en el norte de México a comienzos de 1914.
Total Mobilization: Stasis, Infrapolitics, and Contemporary Temporalization in Alonso Ruizpalacios’s Güeros
No full textAlonso Ruizpalacios’s 2014 cinematographic debut Güeros is a nostalgic coming-of-age that engages with the golden age of Mexican cinema, emblematic spaces of Mexico City, and the student-led strike of 1999 at the Universidad Nacional Autónoma de México (UNAM) against its privatization. By examining the film’s depiction of another iteration of the historical Mexican student movement, this article analyzes the notion of movement, which is key for cinema (as the idea of moving image suggests), as well as Mexican political culture ensuing 1968 and Western political thought. This project points to how political movement, usually associated with the creation of political antagonisms, public protest, and the construction of a popular subject, is analogous to what thinkers like Ernst Jünger and Gil Andijar have referred to as “Total Mobilization” (Mobilmachung) and “political hematology,” respectively. These perspectives argue that, during modernity, there is a rising biopolitical mobilization by which every aspect of subjectivity is turned to an increasingly accelerating war and/or productive effort. This article shows that in spite of the film’s sympathy for the UNAM’s strike, the film’s alternation between personal, political, and narrative planes questions the notion of movement as the foundation for militancy and social change against neoliberal reform and whether these have been subsumed by the ever-increasing forces of spectacular capitalism. From an infrapolitical perspective, this article argues that faced with the increasing compulsion of the mediatized markets and identitarian politics to engulf every aspect of life and the subject, Güeros meditates on the exhaustion of movement. On the contrary, this piece argues that the film posits the existence of something yet to be thought about and that emerges from the crevices of that which cannot be reduced, or better said, mobilized, by the market or politics
La temporalidad de la deuda durante la Gran Recesión en la novela En la orilla (2013) de Rafael Chirbes
No full textThis essay offers an interdisciplinary analysis of Rafael Chirbes’ novel En la orilla (2013), recognized as the paradigmatic work of the Great Recession of 2008 in Spain. The article examines how the Valencian writer denaturalizes the forms of violence adjacent to the credit-driven economy fostered during the real estate bubble cycle in southeastern Spain. In line with the arguments of David Graeber, Walter Benjamin, and Maurizio Lazzarato on the history and philosophy of debt, En la orilla [On the Edge] portrays the intimacy of social malaise in contemporary neoliberal capitalism, unveiling the violence that has historically accompanied debt and credit in their interrelation with the moral sphere of guilt and sin. The literary analysis shows how the novel depicts the discursive mechanisms of subjectivity production in indebted individuals, resulting from a theological-sacrificial temporal experience. Specifically, three literary devices that render visible the constrained temporality of the indebted–predetermined by a delimited future–are identified: a non-theological composition, the heterogeneity of narrative voices, and a narrative tone described as obscene. This interpretation of En la orilla also draws on Corinne Maier’s and Jean-Luc Nancy’s reflections on alterity and mortality to examine the forms of violence that emerge when workers, bound by the temporality of debt, are alienated from the possibility of experiencing their social and finite condition. Ultimately, this study demonstrates that the novel’s value is not only literary but also political, as it offers an aesthetic experience of resistance to the theological temporality imposed by debt.El presente ensayo ofrece un análisis interdisciplinario de la novela En la orilla (2013) de Rafael Chirbes consagrada como la obra paradigmática de la Gran Recesión de 2008 en España. El artículo examina cómo el escritor valenciano desnaturaliza las formas de violencia adyacentes a la economía del crédito impulsada durante el ciclo de la burbuja inmobiliaria en el sureste de España. En sintonía con los argumentos de David Graeber, Walter Benjamin y Maurizzio Lazzarato sobre la historia y filosofía de la deuda, En la orilla retrata la intimidad del malestar social del capitalismo neoliberal contemporáneo develando las violencias que históricamente han acompañado a la deuda y el crédito en su interrelación con la esfera moral de la culpa y el pecado. El análisis literario muestra cómo la novela retrata los mecanismos de producción discursiva de la subjetividad de la deuda sometida por una experiencia temporal teológica de sacrificio. Concretamente, se señalan tres recursos literarios que visibilizan la temporalidad del endeudado cercenada por un futuro previamente delimitado: una composición no-teológica; la heterogeneidad de las voces narrativas; y un tono narrativo que se ha denominado obsceno. Esta interpretación de En la orilla también se apoya en las reflexiones de Corinne Maier y Jean-Luc Nancy sobre la alteridad y la mortalidad para reflexionar sobre las violencias que emergen cuando los trabajadores, obligados por la temporalidad de la deuda, son alienados de la posibilidad de experimentar su condición social y finita. En definitiva, se demostrará que el valor de la novela no es solo literario sino que además es político al ofrecer una experiencia estética de resistencia a la temporalidad teológica impuesta por la deuda
Revisitar las memorias coloniales, desentrañar la huella africana: Raza, género e imperio en la España contemporánea. : José Martínez Rubio y Sara Santamaría Colmenero (eds.). La herida colonial: Memoria e imperio en la España contemporánea. Lausanne: Peter Lang, 2024, 272 páginas. ISBN: 9783631897638. Ana León-Távora y Rosalía Cornejo-Parriego (eds.). Colonialist Gazes and Counternarratives of Blackness. Afro‑Spanishness in 20th‑ and 21st‑Century Spain. New York: Routledge, 2024, 260 páginas. ISBN: 9781032563497.
No full text