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Historical Actors (historical + actor)
Selected Abstracts,I Saw a Nightmare . . .': Violence and the Construction of Memory (Soweto, June 16, 1976)HISTORY AND THEORY, Issue 4 2000Helena Pohlandt-McCormick The protests on June 16, 1976 of black schoolchildren in Soweto against the imposition of Afrikaans as a medium of instruction in their schools precipitated one of the most pro-found challenges to the South African apartheid state. These events were experienced in a context of violent social and political conflict. They were almost immediately drawn into a discourse that discredited and silenced them, manipulating meaning for ideological and political reasons with little regard for how language and its absence,silences,further violated those who had experienced the events. Violence, in its physical and discursive shape, forged individual memories that remain torn with pain, anger, distrust, and open questions; collective memories that left few spaces for ambiguity; and official or public histories tarnished by their political agendas or the very structures,and sources,that produced them. Based on oral histories and historical documents, this article discusses the collusion of violence and silence and its consequences. It argues that,while the collusion between violence and silence might appear to disrupt or, worse, destroy the ability of individuals to think historically,the individual historical actor can and does have the will to contest and engage with collective memory and official history. [source] The Populist Chola: Cultural Mediation and the Political Imagination in Quillacollo, BoliviaJOURNAL OF LATIN AMERICAN & CARIBBEAN ANTHROPOLOGY, Issue 2 2000Robert Albro This argument situates the "image" of the popular woman in the emerging electoral context of Quillacollo, a Bolivian provincial capital. Even as "cholas" remain largely shut out from regional political power, their ubiquitous image culturally mediates political access to the popular sector for men. Hence authorities initiate token economic exchanges with cholas. both to participate intimately in the popular cultural milieu, and to solidify their claims to personal roots in this world. This argument examines the interrelated contexts of national structural adjustment, regional development, the domestic economy, agricultural fiestas, and sexual conduct, as these are "performed" within a regional folkloric calendar, that turn on the currency of the chola as a political "root metaphor." In turn, the role of the chola's image suggests limitations upon her status as historical actor. [source] "GEOGRAPHY IS TWINNED WITH DIVINITY": THE LAUDIAN GEOGRAPHY OF PETER HEYLYNGEOGRAPHICAL REVIEW, Issue 1 2000Article first published online: 21 APR 2010, Dr. ROBERT J. MAYHEW ABSTRACT. This critical history of geography looks to the political concepts that historical actors held and analyzes the incorporation of these concepts into geography. Peter Heylyn, who politicized his geographical books Microcosmus (1621) and, still more, Cosmographie (1657), followed William Laud's characteristic brand of High Church Anglicanism, avowedly hostile both to Roman Catholicism and to Calvinist forms of Protestantism, while upholding an ideal of the Church of England as both independent and apostolic. Further, Laudians were stalwart defendants of monarchy as a divine institution. This Laudian vision of church and state informed Heylyn's geographical works, which goes against a received wisdom that they are divorced from his polemical historical, political, and theological tracts. We thus recover the politics of early modern geography as contemporaries might have understood them. [source] History and Story: Unconventional History in Michael Ondaatje's The English Patient and James A. Michener's Tales of the South PacificHISTORY AND THEORY, Issue 4 2002Madhumalati Adhikari "Literary history" is a cross between conventional (scientific) history and pure fiction. The resulting hybrid provides access to history that the more conventional sort does not (in particular, a sense of the experiences of the historical actors, and the human meaning of historical events). This claim is demonstrated by an analysis of two novels about World War II, The English Patient by Michael Ondaatje, and Tales of the South Pacific by James Michener. These two very different novels in English are by writers themselves very different from each other, writers from different times, different social and political backgrounds, and different points of view. Their novels examine the effects of the Second World War and the events of 1942 on the human psyche, and suggest how human beings have always searched for the silver lining despite the devastation and devaluation of values. Both novels resist any kind of preaching, and yet the search for peace, balance, and kindness is constantly highlighted. The facts of scientific history are woven into the loom of their unconventional histories. The sense of infirmity created by the formal barriers of traditional history is eased, and new possibilities for historical understanding are unveiled. [source] ,Adorned with the Mix of Faith and Profanity that Intoxicates the People': The Festival of the Senhor do Bonfim in Salvador, Bahia, Brazil, 1930,19541BULLETIN OF LATIN AMERICAN RESEARCH, Issue 2 2005Scott Ickes This essay looks at a formative period in the history of the festival of the Senhor do Bonfim, one of Salvador's most important religious festivals. The essay focuses on the public ritual washing of the Church of Bonfim and the tensions between the Catholic Church, who periodically banned the washing from the larger festival, and a variety of historical actors including politicians, journalists, authors and working-class Salvadorans whose efforts eventually contributed to the lifting of the prohibition once and for all in 1953. The author suggests that the defence of the washing both reflected and contributed to a larger hegemonic process taking place in Salvador after 1930, as actors within Salvador's dominant class accepted and even praised Afro-Bahian cultural practices, including them as integral parts of a larger Bahian identity. [source] | ||||||||||