This paper explores the aesthetics of miniaturization in Statius’ Silvae 2.7, in relation to Statius’ unexpected decision to write a tribute to the dead epic poet Lucan in hendecasyllables. The choice of a meter associated with irreverence, ephemerality, speed, and fun has been variously justified as expressing the poet’s ambivalent mood—mourning and celebration combined—or encapsulating his subject’s brief life. This paper builds on these explanations from a different angle. The epitome of miniature, playful poetry in the Silvae is the pseudo-Virgilian (...) Culex, mentioned first in Statius’ opening preface as a model for his collection and then in the tribute to Lucan as a yardstick for the young poet’s precocity. This is no casual coincidence. Statius’ résumé of baby Lucan’s future career uses techniques of retrospective prophecy similar to those with which the Culex-poet anticipates and absorbs Virgil’s entire oeuvre. Other clues suggest that Statius is engaging with the faked juvenile work more than sporadically, writing the equivalent for Lucan in the smallest meter imaginable while aiming to surpass both Virgil and Lucan as a poet of speed and synoptic vision. (shrink)

Over the past decade, feminists born during and after the rise of women's liberation have become increasingly preoccupied with the movement's past – its documents and artefacts. This is evident in publications such as Elizabeth Freeman's Time Binds and Victoria Hesford's Feeling Women's Liberation, as well as artistic interventions by artists such as Sharon Hayes and Allyson Mitchell. In different ways, these theorists' and artists' projects each enact a longing for and reassessment of 1970s feminisms. At the same time, a (...) younger generation of feminists comprising women born since 1980 has begun to look back to 1990s feminism as a site of longing and an object of critique. While both generations continue to distance themselves and their projects from nostalgia, this article suggests that rather than reject nostalgia entirely, these projects in fact bring feminist nostalgia into relief, pointing to both its dangers and possibilities. (shrink)

This paper examines the cultural antagonisms of Martial's Apophoreta 170–82, a unique series of epigrammatic gift-tags for artworks to be given away during the Saturnalia. In these poems, I argue, Martial thematizes and enacts Rome's transformative appropriation of cultural capital from Greece and elsewhere. First, he adopts the Hellenistic trope of the ekphrastic gallery tour in order to evoke the “museum spaces” of the Flavian city, where artworks became testaments to the power and culture of Rome. While evoking these masterpiece (...) collections, however, the epigrams in fact describe miniatures changing hands at a banquet. Martial thus tropes a second Roman practice of appropriation, namely the widespread consumption of transmedial miniature copies. Third and finally, the epigrams dramatize the vulnerability of plundered objects by reevaluating their significance within the Roman frameworks of Latin literature and the Saturnalia. In this miniature ekphrastic series, then, Martial's apophoretic poetics converge with Roman forms of appropriation both imperial and domestic, concrete and conceptual. (shrink)

This article investigates the work of mourning following the terrorist attacks in New York and Washington on September 11, 2001. Combining discussions of mourning, kitsch and sentimentality, I examine the perverse transformation of grief into patriotic nationalism. Linking Freud’s description of mourning as work with Derrida’s articulation of grief as ‘a work working at its own unproductivity’, I explore how grief has been paired with icons of American nostalgia, such as Norman Rockwell, as well as kitschy souvenirs from Ground Zero (...) vendors, and, through this pairing, been transformed into a motive force for war. A central part of this operation, I argue, is the process of identification with the traumatic event. Identification, what Freud describes as a ‘binding force’, takes place across diverse fields - from White House speeches, to kitsch memorabilia made available immediately following the attacks. Identification with the event enables identification with the nation - an operation immediately reifying the official rhetoric of ‘Us against Them’ propounded by President Bush and his advisers. As grief over 9/11 is transformed into a perpetual rationale for war, that day becomes a new origin conveniently obliterating all that came before regarding the history of US nation-building and its own brand of terrorism. (shrink)

The post-Civil War American natural history craze spawned a new institution -- the natural history dealer -- that has failed to receive the historical attention it deserves. The individuals who created these enterprises simultaneously helped to promote and hoped to profit from the burgeoning interest in both scientific and popular specimen collecting. At a time when other employment and educational prospects in natural history were severely limited, hundreds of dealers across the nation provided encouragement, specimens, publication outlets, training opportunities, and (...) jobs for naturalists of all motivations and levels of expertise. This paper explores the crucial role that specimen dealers played in the larger natural history community. After briefly examining the development of local taxidermy shops in the mid-nineteenth century, it then traces the history of four large natural history dealerships established in the United States during the latter half of the century: Ward's Natural History Establishment, Frank Blake Webster's Naturalists' Supply Depot, Southwick & Jencks' Natural History Store, and Frank H. Lattin & Co. By the early twentieth century, changing tastes in interior design, the growth of the Audubon movement, and the dramatic expansion of alternate training and job opportunities for naturalists led many specimen dealers either to shift their emphasis or to shut their doors. (shrink)

By considering the experience of historians in national and regional archives, the relationship of memory to history and historical practice is discussed. The professional experience of historians is connected to wider social and psychological uses of the past, and of history in Euro pean societies, over the 200 years since official archives were inaugur ated.

In this article, the formation and transformation of knowledge and the role of designs for learning will be elaborated and discussed in relation to the introduction of national curricula and school textbooks during the beginning of the industrialized era vs. the introduction of individual curricula and new digital learning resources in the post-industrialized era of globalization and multiculturalism. Quite different teaching and learning strategies have been emphasized, which I will call here “designed information and teaching” vs. “designs for learning”. It (...) seems obvious that our current society is in a stage of change that requires a new understanding of knowledge, learning and identity formation. The new position and role of the learner underlines the productive and constructive aspect of learning. Pupils not only read texts, they also produce texts, pictures, film and music and they compile and edit virtual texts. Multimodal texts, as well as the information flow of the Internet, are the consequences of, and at the same time a vehicle for, new social patterns. “Learning Design Sequences” is introduced as a theoretical map for the purpose of analyzing critical incidents in learning process, using different genres, modes and media in a process of meaning-making. (shrink)

This article reports on Art-at-Work, a twenty-four-hour exhibition that took place on Auckland University of Technology’s North Shore campus on 17 July 2013. The passing away of progressive educator Elwyn S. Richardson was the catalyst for this project that emerged simultaneously alongside the Elwyn S. Richardson symposium, Revisiting the early world. Researching the history of progressive education, and its relationship to art, in Aotearoa/new Zealand created an opportunity to enact a relational curatorial approach to art-centred research in education. Artworks, including (...) archival children’s works, were installed, others performed, in three re-imagined sites across the campus. The project was informed by an understanding of walking as something to do with knowing as seeing, a seeing that opens up spaces and places, and, with a nod towards Michel Serres’ notion of the parasite, the practice of walking is productive in agitating points of rupture. The exhibition’s audience-publics were equipped with a ‘Site-Map’ that invited them to construct a ‘walk-talk the landscape’ of their own making. It was anticipated that the points of rupture that would emerge would enable imaginings of a different ordering of events to emerge, different to those that are already known and understood as well as to those that might otherwise unfold within a narrow neoliberal narrative. The project overview offered in this article reveals our endeavour to do something different with research in education, with history, to be attentive to art, with art, making art matter, keeping art in touch, with education, in twenty-first century learning teacher education environments. (shrink)

This article explores the potent force of material objects in testimional culture by enacting an encounter with the ‘debris’ of a World War Two internment camp for Japanese Canadians. Pushing beyond the limits of the repetition of linear history, the article moves instead towards a phenomenological analysis of how yielding to remains of the past might allow us to reconnect with the destroyed worlds from which they were removed. Using Michel Taussig's notion of mimesis and Peggy Phelan's work on mimicry, (...) alongside Merleau‐Ponty's work on the habit‐body, this article brings into relief the neglected place of material objects collected by archives and brought to memorials in testimonial culture. (shrink)

Small things loom large as a distinct category in social and cultural analysis. However, the social construction and effects of this idiom of scale commonly remain vague and underexplored. Bringing the literature on quantification in conversation with the literature on scale-making, this article offers a theoretically-informed analysis of how smallness consolidates as a publicly salient social attribute, and how it feeds collective narratives. The empirical focus is on American Jewry – an ethnoreligious minority group whose leaders and experts have invested (...) in its quantification, including its representation as a small population. Drawing on a variety of texts and images, as well as on interviews and fieldwork, I show that American Jewish research bodies and public figures engage in a myriad of comparative arithmetic exercises and spectacles of scale to assert the smallness of the population. Deploying smallness as a generative narrative tool allows them to engage with the ambivalences implicated in the American-Jewish post-Holocaust, minority, and diasporic experience. In particular, exercises around notions of numerical negligibility, disproportional success, and numerical inferiority elicit protean narratives around endangerment, power, and a questioned diasporic future. The broader theoretical intervention of this article is to offer scalemaking as a valuable prism for understanding the narrative potency and poignancy of arithmetically-based constructs such as smallness. Instead of emphasizing the assumed epistemological strengths of numbers, this article considers the narrative work that statistics do when they lend themselves to multimodal scaling. It argues that through scaling, statistics are infused with perspective, relevance and meaning, descriptively and prescriptively. (shrink)

After a century of cinema, accounts of this cultural form see it as divided between documentation and animation (the real and the magical). Yet the challenge that cinema presented in terms of a relocation of perception from the eye to the machine has become occluded. The shock of cinema in its earliest manifestations resided in the body of the spectator, no longer the site of primary perception, but dependent on an other (the camera, the projector) lacking in human qualities. This (...) article argues that the newly configured body–machine relationship provided by cinema became a marginalized feature of cinematic culture, an ex-centric cinema relegated to the sub-fields of science and educational film. In the mid-20th century the project surfaces spectacularly in the work of pioneering designers Charles and Ray Eames, most poignantly in their film Powers of Ten (first made in 1968, remade in 1977), a journey into the cosmos and back again into the body of a man. Bringing together discourses of space travel, cartography, physics and cinema, the film moves us towards an understanding of visual culture as an apparatus of calculated possibilities, where visualization replaces representation. If we take the Powers of Ten as a non-representational film, an ex-centric cinematic practice, we uncover non-linear and non-representational ways of apprehending the relationship between bodies and matter. This literal line of flight is one path that cinema may have taken. Its presence, however, is detectable outside of the cinema, in the software programs of electronic cartography copyrighted as Google Earth. The human body is not made virtual by its engagement with calculated visualization but is in turn part of the field of enquiry, equally porous, and definable in various scales and in different dimensions. (shrink)

This study examines the socio-cultural significance of dolls as Roman girls' toys. It focuses on a sample of ivory, bone, and cloth dolls, many of which have ornate hairstyles, molded breasts and, in some cases, delineated genitalia. As the only explicitly gendered toys from the Roman world, these constitute unique bodies of evidence for exploring questions of socialization and identity formation, and assessing ancient ideals. Often treated as relatively straightforward objects that prepared girls for futures as wives and mothers, this (...) study argues instead that they were more complex and conveyed mixed messages to their young owners. By isolating three specific features of the dolls , situating these in their historical and ideological milieux, and linking them with expectations for girls known from literary sources, the dolls' multivalence as artifacts of gender and status is revealed. (shrink)

Reality TV is immensely popular, and various shows in this media genre involve a storyline of infertility and infertility treatment. Feminists argue that normative and constructed realities about infertility and infertility treatment, like those in reality TV, are central to the emancipation of women. Such realities are able to steer viewers' perceptions of the world. This article examines the emancipatory significance of representations of women on 'infertility reality TV shows'. While the women in these shows all have 'abnormal' qualities, we (...) consider their portrayal as figurations of monstrosity. In the literature, monstrosity is understood as a way to challenge nonemancipatory norms by offering an alternative identity. Through a content analysis of seven reality TV shows, we identified four types of in/fertile monsters: the cyborg, the freak, the abject, and the childless. We show that these monsters are predominantly non-emancipatory as they all involve mechanisms of altering, excluding, or condemning infertility in relation to what is considered normal and acceptable womanhood. Therefore, at the end of this article, we make a plea for more diverse and emancipatory representations of infertile women in popular culture. (shrink)

This article presents a critical analysis of Disney's animated film and stage production of Beauty and the Beast, especially of the heroine, Belle, within a more general and brief historiography of the fairy tale. It is argued that Disney's version displaces the heroic focus from Belle to Beast, while also narrating a response to feminism that involves compressing feminist ideology into conventions of popular romance. The broader representation of femininity in Disney is also examined with reference, particularly, to Snow White (...) and the Seven Dwarfs, and with reflections also on non-fictional characters from media with a relationship to Disney, specifically, Diana Princess of Wales, Lillian Disney and Ellen DeGeneres. Teresa de Lauretis's `elsewhere of vision' is introduced to disrupt and rewrite the domesticating effects of Disney's feminism on its heroines. (shrink)

Why has compulsive hoarding recently captured the American imagination? To what extent is hoarding a subtype of OCD or a discrete "disorder" in its own right? Can a cultural-studies and philosophical assessment of hoarding complement the medical model that has recently been offered by clinicians and the DSM IV? This essay tracks these and related questions in order to offer a theory of compulsive hoarding that pays particular attention to the sometimes distorted representation of hoarding in literature and the mainstream (...) media. (shrink)