5,317 research outputs found
L-R: Katie Lee; Leo Walters; Bruce Berger sitting on a boat on the Colorado River.
No full textPhoto of Photo of Arizona folk singer and author Katie Lee (far left), Leo Walters (center), and writer Bruce Berger (far right), sitting on a raft on the Colorado River, Glen Canyon, Uta
Pilz, Matthias / Berger, Susanne / Canning, Roy (Hrsg.): Fit for business, Pre vocational education in European Schools. Heidelberg: Springer 2012 [Rezension]
Get PDFRezension von: Pilz, Matthias / Berger, Susanne / Canning, Roy (Hrsg.): Fit for business, Pre vocational education in European Schools, Heidelberg: Springer 2012 (211 S.; ISBN 978-3-531-18383-1
SMM891195 Supplemental Material - Supplemental material for Flexible modeling of ratio outcomes in clinical and epidemiological research
No full textSupplemental material, SMM891195 Supplemental Material for Flexible modeling of ratio outcomes in clinical and epidemiological research by Moritz Berger and Matthias Schmid in Statistical Methods in Medical Research</p
1,3-Bis(2,6-diisopropyl-phen-yl)-1H-imidazol-3-ium chloride dichloromethane disolvate
Get PDFIn the title compound, C27H37N2 +·Cl−·2CH2Cl2, the cation and the anion are each located on a crystallographic mirror plane. Both of the dichloromethane solvent molecules show a disorder across a mirror plane over two equally occupied positions. Additionally, one isopropyl group is also disordered. In the crystal, the cations are connected to the chloride ions via C—H[cdots, three dots, centered]Cl hydrogen bonds
Roots and Beginnings: Medievalism, Nationhood, ‘Freedom’
No full textThe Middle Ages have something of a history – of instrumentalisation by nationalisms. Nineteenth-century Europe in particular witnessed an origins craze during the process of nation-building. In the post-Shoah, post-modern West, we would expect all those medievalist master narratives to have been consigned to the dustbin of history. And yet, negotiations of national identities in medieval dress have become fashionable again, in culture – and in politics. With nationalisms currently surging in Europe, the Middle Ages are liable to be reclaimed increasingly for purposes of nation-building. Against this backdrop, this paper offers a reading of the Conservative Member of the European Parliament Daniel Hannan’s How We Invented Freedom and Why It Matters (2013). A textual hybrid, half historical overview and half Eurosceptic right-libertarian polemic, Hannan’s book-length essay updates the metanarrative of the old ‘Whig interpretation of history’ to (re)claim a unique tradition of ‘freedom’ for what he calls the Anglosphere. Hannan looks deep into the insular past and traces the roots of Anglosphere constitutional, social and cultural exceptionalism to the Anglo-Saxons. After centuries of success, Hannan claims, the Anglosphere has now forgotten its history, and the cause of freedom stands to be lost by the ‘Europeanisation’ of the Anglosphere countries. With its overriding emphasis on origins and continuity, the book is an example of a political medievalism that sits at the nexus of memory, narrative and identity, appealing to a common (national) identity by means of a shared past that makes strong demands on the present
On Pilgrimage Again: Protest, Place and the Nation’s Others in "Refugee Tales"
No full textMedievalism has lately resumed its function as a receptacle for both statements of national identity and the processes of exclusion by which such identity is upheld. Nationalism is notoriously suspicious of the international migrant. This paper explores the British Refugee Tales project (2015-), which consists mainly of two collections of collaborative short stories by refugees and established writers and a series of protest walks in solidarity with refugees and detainees. Telling international stories of forcible displacement and precarious arrival, Refugee Tales’ invocation of Chaucer’s pilgrimage arguably radically reimagines, but does not fully eliminate, the national medieval framework. Looking for inspiration to an author who has been canonised as articulating a benevolent vernacular Englishness, it searches for a new language that is welcoming beyond the confines of nationhood. Similarly, Refugee Tales attempts to reclaim physically memory sites of the nation such as Runnymede (of Magna Carta fame) and the “ancient pathways” trodden by Chaucer’s fictional pilgrims in favour of a positive reinterpretation – and decriminalisation – of “the pleasure and necessity of movement”. Paradoxically, then, the medievalism of Refugee Tales harnesses meanings of long national continuity and rootedness to make its case for an accommodation of migrants’ experiences of discontinuity and deracination
The West Remembers (Its Premodern Self)
No full textIn the final decades of the twentieth century, interest in the European Middle Ages surged in the global West. The Middle Ages have held a powerful fascination since, to the point of having been described as an international “cultural lingua franca” (D’Arcens and Lynch) and as possibly the most fertile period for the global imaginary of today (Carpegna Falconieri). This paper focuses on a tendency complementary to the current internationalisation of medievalism: the appropriation of the Middle Ages by resurgent nationalisms. Such ‘national medievalism’ looks to medieval prece-dent and is concerned with clearly circumscribed group identities along familiar national lines. I will argue that after the heyday of national medievalism in nineteenth-century Europe and its deep fall after the excesses of political nationalism in the first half of the twentieth century, the cultural category of ‘the medieval’ today again proves to be the preferred reference point of histories of national origins. In such narratives, notions of medieval alterity interact and compete with notions of cultural filiation.
Against this backdrop of renewed recourse to the “Middle Ages of national identities” (Eco), the paper then offers a reading of HBO’s ongoing Game of Thrones series as a sprawling statement of national identity. Its primary setting is Westeros, a nation-continent at war with itself and threat-ened by both foreign invasion from the east (Essos) and the largely unknown common enemy, the walking dead, to the north. Assimilating a ‘best-of’ of medieval and early modern European history (‘Vikings’, ‘Al-Andalus’), Westeros is an oblique but nonetheless recognisable adaptation of a specifically insular (British) premodern past. The show’s huge international success owes much, I argue, to its slippage between invocations of ‘British’, ‘American’ and ‘Western’ identities and the very woolliness of its historical analogies. Furthermore, its simultaneous fascination and unease with pseudo-medieval clashes of multiple allegiances and with the fluidity of territory re-calls deeply ingrained habits of interpreting history in nationalist terms. A dark mirror and ethical-ly challenging master narrative of Western history, Game of Thrones is thus representative of the way global popular interest in the Middle Ages is an interest in a supersized national – and insular – Middle Ages
Unique Continuities: The Nation and the Middle Ages in Twenty-First-Century Switzerland and Britain
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