A Study of Ethnographic Collecting and Display
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Vom Wandern Der Völker
Vom Wandern der Völker Felix Wiedemann Kerstin P. Hofmann Hans-Joachim Gehrke (eds.) BERLIN STUDIES OF THE ANCIENT WORLD gehören zu den zentralen Gegenständen historischer Forschung und Darstellung. Sie fungieren als historische Wegmarken oder Epochen schwellen und spielen eine zentrale Rolle bei der ( Trans-) Formation von Räumen und kollektiven Identi täten. Dabei weisen moderne wissenscha liche Darstellungen von Wanderungsbewegungen aus unter schiedlichen Kontexten, Zeiten und Räumen er staun liche inhalt liche Ähnlichkeiten und analoge Erzähl muster auf, die sich keineswegs durch vermeint- liche Parallelen in den dargestellten Ereignissen er klä ren lassen. Vielmehr scheinen diese ihren Hinter- grund in der Art und Weise zu haben, wie Migra- tionen dargestellt und erzählt werden. Die Beiträge des vor liegenden Bandes decken ein breites Spektrum vornehmlich altertumswissenscha licher Disziplinen ab und ver mögen zu zeigen, dass noch die jüngere Wanderungs historiographie tradierten Erzählmustern folgt, die teilweise bis in die Antike zurückreichen. 41 · 41 Vom Wandern der Völker ä Felix Wiedemann Kerstin P. Hofmann Hans-Joachim Gehrke Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © Edition Topoi / Exzellenzcluster Topoi der Freien Universität Berlin und der Humboldt-Universität zu Berlin Abbildung Umschlag: Dunja Antić Typographisches Konzept und Einbandgestaltung: Stephan Fiedler Printed and distributed by PRO BUSINESS digital printing Deutschland GmbH, Berlin ISBN ---- ISSN (Print) - ISSN (Online) -X URN urn:nbn:de:kobv:-fudocsseries- First published Published under Creative Commons Licence CC BY-NC . DE. For the terms of use of the illustrations, please see the reference lists. -
October 21 2017 Thesis New Changes Tracked
The Status, Rights and Treatment of Persons with Disabilities within Customary Legal Frameworks in Uganda: A Study of Mukono District By David Brian Dennison BA (honours), MBA, JD (cum laude) (University of Georgia, USA) Thesis Presented for the Degree of Doctor of Philosophy in the Department of Private TownLaw Faculty of Law UNIVERSITY OF CAPE TOWN Cape of Date of submission: 31 October 2017 Supervisor: Professor Chuma Himonga University Department of Private Law University of Cape Town The copyright of this thesis vests in the author. No quotation from it or information derivedTown from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes Capeonly. of Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University The copyright for this thesis rests with the University of Cape Town. No quotation from it or information derived from it is to be published without full acknowledgment of the source. The thesis is to be used for private study or non-commercial research purposes only. "ii ABSTRACT Thesis Title: The Status, Rights and Treatment of Persons with Disabilities within Customary Legal Frameworks in Uganda: A Study of Mukono District Submitted by: David Brian Dennison on 31 October 2017 This thesis addresses the question: How do customary legal frameworks impact the status, rights and treatment of persons with disabilities? It is motivated by two underlying premises. First, customary legal frameworks are highly consequential in Sub-Saharan contexts. -
9 the Beautiful Skulls of Schiller and the Georgian Girl Quantitative and Aesthetic Scaling of the Races, 1770–1850
9 The beautiful skulls of Schiller and the Georgian girl Quantitative and aesthetic scaling of the races, 1770–1850 Robert J. Richards Isak Dinesen, in one of her gothic tales about art and memory, spins a story of a nobleman’s startling recognition of a prostitute he once loved and abandoned. He saw her likeness in the beauty of a young woman’s skull used by an artist friend. After we had discussed his pictures, and art in general, he said that he would show me the prettiest thing that he had in his studio. It was a skull from which he was drawing. He was keen to explain its rare beauty to me. “It is really,” he said, “the skull of a young woman [. .].” The white polished bone shone in the light of the lamp, so pure. And safe. In those few seconds I was taken back to my room [. .] with the silk fringes and the heavy curtains, on a rainy night of fifteen years before. (Dinesen 1991, 106‒107)1 The skulls pictured in Figure 9.1 have also been thought rare beauties and evocative of something more. On the left is the skull of a nameless, young Caucasian female from the Georgian region. Johann Friedrich Blumenbach, the great anatomist and naturalist, celebrated this skull, prizing it because of “the admirable beauty of its formation” (bewundernswerthen Schönheit seiner Bildung). He made the skull an aesthetic standard, and like the skull in Dinesen’s tale, it too recalled a significant history (Blumenbach 1802, no. 51). She was a young woman captured during the Russo-Turkish war (1787–1792) and died in prison; her dissected skull had been sent to Blumenbach in 1793 (Dougherty and Klatt 2006‒2015, IV, 256‒257). -
And the Hamitic Hypothesis
religions Article Ancient Egyptians in Black and White: ‘Exodus: Gods and Kings’ and the Hamitic Hypothesis Justin Michael Reed Department of Biblical Studies, Louisville Presbyterian Theological Seminary, Louisville, KY 40205, USA; [email protected] Abstract: In this essay, I consider how the racial politics of Ridley Scott’s whitewashing of ancient Egypt in Exodus: Gods and Kings intersects with the Hamitic Hypothesis, a racial theory that asserts Black people’s inherent inferiority to other races and that civilization is the unique possession of the White race. First, I outline the historical development of the Hamitic Hypothesis. Then, I highlight instances in which some of the most respected White intellectuals from the late-seventeenth through the mid-twentieth century deploy the hypothesis in assertions that the ancient Egyptians were a race of dark-skinned Caucasians. By focusing on this detail, I demonstrate that prominent White scholars’ arguments in favor of their racial kinship with ancient Egyptians were frequently burdened with the insecure admission that these ancient Egyptian Caucasians sometimes resembled Negroes in certain respects—most frequently noted being skin color. In the concluding section of this essay, I use Scott’s film to point out that the success of the Hamitic Hypothesis in its racial discourse has transformed a racial perception of the ancient Egyptian from a dark-skinned Caucasian into a White person with appearance akin to Northern European White people. Keywords: Ham; Hamite; Egyptian; Caucasian; race; Genesis 9; Ridley Scott; Charles Copher; Samuel George Morton; James Henry Breasted Citation: Reed, Justin Michael. 2021. Ancient Egyptians in Black and White: ‘Exodus: Gods and Kings’ and Religions the Hamitic Hypothesis. -
Presents Children of Uganda Tuesday, April 25Th 10Am
Presents Children of Uganda Tuesday, April 25th 10am and noon, Concert Hall Study Guides are also available on our website at www.fineartscenter.com - select Performances Plus! from Educational Programs, then select Resource room. The Fine Arts Center wishes to acknowledge MassMutual Financial Group for its important role in making these educational materials and programs available to the youth in our region. About this Guide The Children of Uganda 2006 Education Guide is intended to enhance the experience of students and teachers attending performances and activities integral to Children of Uganda’s 2006 national tour. This guide is not comprehensive. Please use the information here in conjunction with other materials that meet curricular standards of your local community in such subjects as history, geography, current af- fairs, arts & culture, etc. Unless otherwise credited, all photos reproduced in this guide © Vicky Leland. The Children of Uganda 2006 tour is supported, in part, with a generous grant from the Monua Janah Memorial Foundation, in memory of Ms. Monua Janah who was deeply touched by the Children of Uganda, and sought to help them, and children everywhere, in her life. © 2006 Uganda Children’s Charity Foundation. All rights reserved. Permissions to copy this Education Guide are granted only to presenters of Children of Uganda’s 2006 national tour. For other permissions and uses of this guide (in whole or in part), contact Uganda Children’s Charity Foundation PO Box 140963 Dallas TX 75214 Tel (214) 824-0661 [email protected] www.childrenofuganda.org 2| Children of Uganda Education Guide 2006 The Performance at a glance With pulsing rhythms, quicksilver movements, powerful drums, and bold songs of cele- bration and remembrance, Children of Uganda performs programs of East African music and dance with commanding skill and an awesome richness of human spirit. -
Frontispiece 1. Kemune Palace, Duhok Province, Kurdistan, Iraq. In
845 Frontispiece 1. Kemune Palace, Duhok province, Kurdistan, Iraq. In 2018, the unusually low water level behind the Mosul Dam revealed a Bronze Age palace located on the former bank of the River Tigris. The complex is currently under investigation by a joint German-Kurdish team. The site dates to the fifteenth and fourteenth centuries BC, the time of the Mittani Empire. Some of the mud-brick walls survive to over 2m in height. Finds include painted wall plaster and cuneiform tablets, one of the latter suggesting that the site is the Middle Bronze Age city of Zakhiku. Photograph: University of Tübingen, eScience Center, and Kurdistan Archaeology Organization. 846 Frontispiece 2. Excavation of a small trench (6 × 4.5m) in 2017 on the island of Kinolhas, Republic of Maldives. The team is at work on a rectilinear sandstone structure and an accumulation of coral stone grave markers and sandstone blocks. The structure appears to post-date, and may have disturbed, the burial of an individual, found lying on their right side, facing west, with legs slightly flexed. Large fragments of glazed pottery of Southeast Asian and Chinese origin within the rubble, in addition to radiocarbon dates, suggest that the structure was destroyed in the fifteenth or sixteenth century AD. The research was funded by the Leverhulme Trust (RPG 2014-259 to Anne Haour and Alastair Grant, UEA). Drone photograph: Aslam Abubakuru, Annalisa Christie and Ali Riffath. EDITORIAL Writing African narratives From Hegel to Hugh Trevor-Roper, the notion of Africa as a continent without a preco- lonial history of its own dominated European thinking for two centuries. -
The Qur'ân and Hadíth
The Qur’ân And hAdíTh BY: ALLAMAH SAYYID SAEED AKHTAR RIZVI Printed and Published by: Bilal Muslim Mission of Tanzania P.O. Box 20033 Dar es Salaam Tanzania ISBN 9976 956 87 8 First Edition 1971 : 700 Copies Second Edition 1975 : 5,000 Copies Third Edition 1988 : 5,000 Copies Fourth (Revised) Edition 1994 The picture in yellow background on the cover is a section (verses 14:37-40) from a parchment of the Qur’ânic manuscript in Kufi script attributed to Imâm ‘Ali (a.s.) at the Astâna-e-Quds Library, Mashhad, Iran. CONTENTS Preface . .i Chapter One: REVELATION 1. Meaning of Wahyi & Ilhâm . 1 2. Modes of Revelation . .2 Inspiration . 2 From Behind a Curtain . .4 Through Angels . 5 3. Epilepsy & Revelation: A Christians’ Allegation Analyzed . .5 Chapter Two: PRE-ISLAMIC REVELATIONS 1. Some Previous Books . .11 2. The Torah History of Its Present Compilation . .12 Further Details about the Torah . 15 Old Testament: Contradictions & Absurdities . 16 3. The Injil Was it a Book? . 18 Who Wrote the “Gospels”? . .20 The Gospels: Not Trustworthy . .21 The New Testament: Misinterpretations . 23 4. The Qur’ân, Hadíth Qudsi & Hadíth . .26 Chapter Three: THE QUR’ÂN 1. The Preliminary Details The Revelation of the Qur’ân . .30 Name . .30 Sûrah & ‘Âyah . .32 Makki & Madani . 33 2. Writing & Collection of the Qur’ân . 34 Scribes . .35 Position of ‘Âyât . 35 Memorizing the Qur’ân . 35 A Set Arrangement . 36 3. Collection of the Qur’ân . .37 4. More About Authenticity . .39 Marginal References . 41 Letters and Vowels Counted . .42 5. The Qur’ân: A Miracle Performer . -
Noteworthy Descendants of the Clan Grant
Noteworthy Descendants of the Clan Grant Academia Isabel Frances Grant, MBE, LLD, was an author, historian, antiquarian, and founder of the Highland Folk Museum. Born in Edinburgh and educated in London, Dr. Grant was a descendant of the ancient family of Tullochgorm and the granddaughter of Field Marshal Sir Patrick Grant, GCB, GCMG. Dr. Grant wrote her first book, Everyday Life of an Old Highland Farm, in 1924. While traveling in Europe, she was influenced by the open air museum movement of the early 20th century. She started collecting items of Highland material culture and founded the Highland Folk Museum, called Am Fasgadh (The Shelter), firstly on the island of Iona, and later at Kingussie in Badenoch in 1944. Today, the museum is situated in Newtonmore. In recognition for her pioneering efforts, Miss Grant was awarded an Honorary Doctor of Laws from the University of Edinburgh in 1948 and elevated to the rank of MBE in 1959. Dr. Grant wrote a number of books during her long life, including The Lordship of the Isles (1935), Highland Folk Ways (1961), and Periods in Highland History (1987, published posthumously with Hugh Cheape, PhD). Dr. I.F. Grant died in 1983 at the age of 96. Robert Edmond Grant, MD, FRCPE, FRS (1793-1874) established the Grant Museum of Zoology and Comparative Anatomy at University College, London, in 1828. He was born in Edinburgh and studied medicine at the University of Edinburgh. Dr. Grant was the first professor of zoology and comparative anatomy in England and personally donated many of the specimens, dissection materials, diagrams and lecture notes that comprise the collections of the museum today. -
Disclosing Cultural Narrative and Identity Through Art Practices in Uganda Maria Palmo
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Doctoral Dissertations Theses, Dissertations, Capstones and Projects 2010 The ra tistic process in community development : disclosing cultural narrative and identity through art practices in Uganda Maria Palmo Follow this and additional works at: https://repository.usfca.edu/diss Recommended Citation Palmo, Maria, "The ra tistic process in community development : disclosing cultural narrative and identity through art practices in Uganda" (2010). Doctoral Dissertations. 377. https://repository.usfca.edu/diss/377 This Dissertation is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. The University of San Francisco THE ARTISTIC PROCESS IN COMMUNITY DEVELOPMENT: DISCLOSING CULTURAL NARRATIVE AND IDENTITY THROUGH ART PRACTICES IN UGANDA A Dissertation Presented to The Faculty of the School of Education Leadership Studies Department Organization and Leadership Program In Partial Fulfillment of the Requirements for the Degree Doctor of Education by Maria Palmo San Francisco Spring 2010 THE UNIVERSITY OF SAN FRANCISCO Dissertation Abstract The Artistic Process in Community Development: Disclosing Cultural Narrative and Identity Through Art Practices in Uganda This research studies the use of art as a transformative medium for community development in contemporary Uganda. The focus of this research is on the creative process of art practices and how these processes may raise development issues to the level of discourse. -
From Leipzig to Jerusalem: Erich Brauer, a Jewish Ethnographer in Search of a Field1
Naharaim 2014, 8(1): 91–119 Vered Madar, Dani Schrire From Leipzig to Jerusalem: Erich Brauer, a Jewish Ethnographer in Search of a Field1 Abstract: Erich Brauer (1895–1942) was born in Berlin, where he was active in the Jung Juda youth-movement. A talented graphic artist, he was trained as an ethnologist in Leipzig and is best known today for his ethnological studies done in Palestine, especially his monographs on the Jews of Yemen (published in German in 1934) and the Jews of Kurdistan (published in Hebrew in 1947 and in English in 1993). Brauer’s work is discussed in relation to his disciplin- ary habitus as a diffusionist ethnologist whose dissertation in Leipzig was de- voted to the religion of the Herero and what was then known as the “Hamitic Thesis.” This background helps explain his relation to “the field” in two senses – the site where ethnographic fieldwork is conducted and the disciplinary field of German ethnology (Völkerkunde). These two fields are inseparable from one another and are discussed in the context of the status of ethnographic disci- plines at The Hebrew University in Mandatory Palestine. Finally, the paper ex- amines historiographic issues relating to the fate of the communities Brauer studied, his own Zionist identity, and the way German ethnology was practiced during National Socialism. DOI 10.1515/naha-2014-0005 1 This study began as part of a joint project of the Institut für Kulturanthropologie/Europäische Ethnologie Göttingen and the Folklore Program of the Hebrew University of Jerusalem –“Per- spectives on Cultural Studies,” directed by Regina Bendix and Galit Hasan-Rokem and funded by the Volkswagen Stiftung / MWK Niedersachsen. -
Master Thesis)), International Institute of Social Studies, the Hague, Netherlands
‘I FEEL PROUD, HONORED AND VALUED’ - CHANGING TRENDS, EMPOWERING AND DISEMPOWERING ASPECTS OF BRIDE PRICE AMONG URBAN BASED BAGANDA OF CENTRAL UGANDA SARAH MUSUBIKA Master of Philosophy in Global Development Theory and Practice Specialization: Gender in Global Development Spring 2019 Faculty of Psychology Department of Health Promotion and Development ACKNOWLEDGEMENT All thanks to the almighty God for granting me wisdom and knowledge that enabled me write this thesis. His mercies are new every morning. My most profound gratitude goes to my supervisor Siri Lange for your valuable comments, suggestions and guidance all through from proposal writing to writing of the thesis. Working with you has been a pleasure and an honor. Thank you for trusting my academic abilities and respecting my opinions which gave me so much hope and confidence. Siri, you are the best supervisor I have ever had in my academic journey: thank you for always finding time to attend to me amidst your busy schedule. My sincere thanks also go to all lecturers at HEML who taught and guided me all through the two years of my master studies. Special thanks go to my course mates GLODE 2017 cohort for the support and constructive criticism and feedback during class presentation, group work and discussions. Your comments helped me improve not only academically, but also my interpersonal skills while in a multi-cultural environment: I learnt to appreciate and tolerate difference. Heartfelt gratitude goes to all participants in this study, without your willingness to share your experiences; this study would not have yielded. May God richly bless you. -
Culture of Uganda
Notes for the Teacher / Guide THE CULTURE OF UGANDA The aim of this project is to introduce the children in the UK to the culture and traditions of Traditions and culture an African country Uganda. Ugandan Dance The culture of Uganda is colourful, interesting and diverse. It is based on the traditions of the Songs of Uganda country, which go back centuries and are bound up Musical Instruments with religion and rituals. The traditions are handed down from generation to generation and Poetry each dance or song is imbued with meaning. Ceremonial dress Culture is important as it gives identity to a nation, and the people are true to their roots. UGANDAN DANCE “The various dances in Uganda come from the various different tribal cultural values as we have many different tribes with different cultures from our ancestors. There are particular dances for both girls and boys according to the different tribes. The children have music lessons and dance lessons, especially in preparation for particular functions, such as welcoming people. The children very much enjoy the Baganda dance known as the Kiganda dance. This involves singing, clapping hands, dancing to the cultural rhythm created by instruments such as drums and xylophones. The children put on a particular dress which demonstrates their culture. The traditional dancing originates from their ancestors who introduced and evolved these traditional dances to express their cultural tribal values. These traditional dances are also used by children to charity no 1098176 HUGS welcome people”. SONGS OF UGANDA “Songs are passed down through generations, from great grandparents and grandparents, to their children.