By Jack Lindsay
An unique dialectical Marxist interpretation putting Byzantium inside of common history.
In this formidable survey of Byzantine background - overlaying institutional advancements, occasions, non secular conflicts, and paintings - Lindsay asks in regards to the world-historical achievements of the japanese Roman Empire and its contribution to the passage from antiquity to feudalism at the ecu direction in the direction of modernity. The ebook is clean in its dialectical mode of research. It earned a beneficial review from the doyen of Byzantine reports in France Rodolphe Guilland, whereas the days Literary complement ran an nameless overview of it that proposed to prohibit all Communists from educating heritage (which view the editors then defended from the letters despatched in protest).
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Additional resources for Byzantium into Europe: The Story of Byzantium as the First Europe (326-1204 A.D.) and Its Further Contribution till 1453 A.D.
Sixth edition. London: Routledge. S. (2011). Memoirs and Recollections of the Late Abraham Raimbach, Esq. Engraver. Cambridge: Cambridge University Press. Renier, A. (1964). Friendship’s Offering. An Essay on the Annuals and Gift Books of the 19th Century. London: Private Libraries Association. A. (1828-1834). Museum of Painting and Sculpture, or Collection of the principal pictures, statues and bas-reliefs in the public and private galleries of Europe. XVI vols. London: Bossange, Barthes and Lowell, Charles Tilt; Paris: Audot.
It © Springer International Publishing Switzerland 2017 C. Yanes-Cabrera et al. 1007/978-3-319-44063-7_4 47 48 M. Brunelli in digital environments (but nevertheless also in real environments, if speciﬁcally arranged to facilitate social exchanges, such as participatory museums) (Simon 2010; Brunelli 2014, 2016). 0. Through social media, in fact, it is exactly this intrinsic social-relational function of school photographs which seems to amplify by catalysing the web-users’ interests, evoking shared memories, building connections between people and giving birth to e-communities—also in virtue of the historic photos’ potential to create an “emotional and multi-sensory connection” between people and what is now called “Past”, even “in the dematerializations and rematerializations of digital environments”, as sociological and anthropological research has highlighted (Edwards 2010, pp.
In the light of these considerations, in this essay I will offer—through signiﬁcant examples and case-studies—an initial review of several social practices to which school photographs are subjected today on the Web and social media, which can be summarized as follows: – Social sharing: sharing school photos in order to share school memories—or school photos as a mnemonic support and a fulcrum of social relationships on the Web; – The exposure and the narration of the Self mediated by school photos—or how individual memories contribute to the construction of a collective memory; – The memories of places—or school buildings as monuments of the collective memory of communities: towards a visual topography of the school memory; – The creative and participative re-elaboration of school photos as tools for learning and knowledge: the practice of school Photo-Mashups.