Journal Service - Georg-August-Universität Göttingen
Not a member yet
1022 research outputs found
Sort by
Intertidal Conversations: On Developing a Practice of Listening to Earth
No full text“Intertidal Conversations” explores connecting to our environment through sound via the research and creative installation project Listening to Earth. Through a three-way collaboration with Earth, sound artist Diana Chester and composer Damien Ricketson explore geophonic soundscapes for its ability to serve as a vessel of knowledge for the storage of more-than-human memories. The article outlines the process of deploying listening instruments, including hydrophones, geophones and custom designed aeolian harps, in dynamic intertidal zones in southeastern Australia, and the creation of a sensory installation that expands the thresholds of hearing beyond what is perceived by the ear. Drawing on writings in sound ecologies, listening practices and decolonial discourse, the authors seek to explore avenues for actively working against more traditional extractivist approaches to sound-based methodologies by engaging with Earth in an ongoing process of dialogic exchange
Athens and Jerusalem: Classical Education and the Culture Wars
No full textThis article examines the rise of “classical education” (CE) as an educational model in the context of contemporary educational culture wars in the United States. A traditionalist educational model especially favored by Christian schools and universities, CE builds upon the prestige of learning in the texts of the ancient Mediterranean. It is increasingly promoted by educators and politicians on the right as a tool for instilling “civic virtue” and for wresting American education from the grip of secularism and left-liberal ideology. This paper explores CE’s actors, its history, its pedagogical content, and its ideological underpinnings, to show that for its champions, CE is not simply a way to return to time-honored “classics,” but to instill a conservative cultural hegemony rooted in Christian nationalism
The Medea Project: MAZE, Life on the Swerve
No full textThe Medea Project: Theater for Incarcerated Women/HIV Circle is a San Francisco institution with an international reputation. The group is made up of formerly incarcerated women, women living with HIV, theater professionals and community women. Founded in 1989 by Rhodessa Jones, based on Jones’ workshops in the San Francisco county jail, Medea Project productions have often used ancient myth as the framework for their modern shows. In the jails, in the clinic for women living with HIV, and in community settings, Rhodessa starts by asking participants to write in response to questions she asks; in some cases, she tells one of the old stories—the “classic” stories—and then asks the women to make connections between these stories and their own lives. Together, they then create a piece for public performance
Erna Scheffler (1893–1983) – Beiträge zur Interpretation des Art. 3 II GG
No full textErna Scheffler war die erste Richterin des Bundesverfassungsgerichts. Neben dem durch Scheffler geprägten Frauenbild des Bundesverfassungsgerichts werden ihre Vorstellungen zur Gleichberechtigung in verschiedenen Rechtsgebieten anhand ihrer Publikationen untersucht
Beiträge von Juristinnen zu den Verfassungsdebatten (Art. 3 und Art. 6 GG) Anfang der 1990er Jahre
No full textIn den Verfassungsdebatten im Zuge der Wiedervereinigung Anfang der 1990er Jahre wurde auch über eine Reform der Art. 3 II und Art. 6 GG diskutiert. Der Beitrag beleuchtet die verschiedenen Reformentwürfe und untersucht die Gründe für die gelungene Ergänzung des Art. 3 II GG und die gescheiterte Reform des Art. 6 GG
Rechtsprechungsübersicht Öffentliches Recht
No full textRechtsprechungsübersicht Öffentliches Recht 2/202
Wunguwarnu Wantarri Milpirri Ecosomatics: Hip Hop and Warlpiri embodied senses of place
No full textMilpirri, a biennial whole of community performance event, has engaged youth in the remote Warlpiri community of Lajamanu in new Hip Hop and contemporary iterations of Warlpiri knowledge drawn from ceremony since 2005. The experimental ceremony Milpirri is directed to teaching Warlpiri youth to feel ngurra-kurlu – “at home,” to feel and know Country through the body (Patrick & Biddle 2008). This article outlines the historical development of Milpirri before discussing how specific performances of Wardapi Jukurrpa (goanna Dreaming) teach young Warlpiri ngurra-kurlu demonstrating the vital importance of proprioceptive knowledge imparted through Milpirri, and ecosomatic intersections of Warlpiri and Hip Hop frameworks. Milpirri advances capacities of Hip Hop culture to facilitate deeply embodied, sentient and enmeshed relationality with Country – sites, animals, plant species, and Jukurrpa; a critical move beyond representation of place/identity – a core ethic within Hip Hop culture. These collective political capacities of Hip Hop culture to ‘sample’ Country provide immersive contexts for sensory attunements to place. This paper is based upon Warlpiri and Milpirri conceptual frameworks (Pawu), and long-term ethnographic fieldwork on Hip Hop cultures (Dowsett) and in Lajamanu with women’s ceremony and art (Biddle). We situate Milpirri and the work of Milpirri Hip Hop within a growing number of desert-based, arts-engaged platforms for Indigenous “survivance”, following First Nations scholar Gerard Vizenor (1999) or “remote avant-garde” as Biddle models elsewhere (Biddle 2016); emergent arts of living heritage taking shape within settler colonial contexts of occupation and governance, precarity, and climate crisis
Trio Da Kali and the Mande Griot Tradition in the Era of the Global Griot
No full textThis article examines the centuries-old tradition of “griot” or djeli – musicians, historians, and keepers of the ancient stories of the Mande – as a current global phenomenon, where collaborative works between “global griots” incorporate elements of this tradition into new and emergent contexts. Situating the group Trio de Kali (founded by balafonist Fode Lassana Diabaté) within a framework of applied ethnomusicology, this article canvasses the history of a growing movement of Malian griots who are able to engage with diverse audiences across the world through a network of artists, scholars, and institutions. In doing so, this article investigates the challenges and benefits involved in such collaborative endeavors; how such projects both preserve and progress musical tradition and practice; and, how emergent performative contexts for professional global griots at collaborative events – such as the Sunjata Project Singing Storytellers Symposium at Cape Breton University – contribute to the development of traditional griot practice