Bricolage

L’étude de la présence afro-brésilienne dans le quartier de Bexiga à São Paulo dans les années 1920 et 1930 permet de comprendre à la fois la manière dont les élites de la ville prennent en considération ces habitants issus d’un esclavage encore proche et l’influence de ceux-ci sur leur quartier. Le racisme des élites de la ville les a marginalisés à Bexiga, mais les Afro-brésiliens du quartier ont su « bricoler » cette place qui leur a été laissée en ville pour y construire une certaine autonomie. La construction des particularités de cette communauté et de son quartier est d’abord abordée sous l’angle des « bricolages » de la vie quotidienne afro-brésilienne à Bexiga, grâce auxquels ils adaptent leur vie et leur territoire. L’exception culturelle du quartier exprime aussi ces conditions, ainsi qu’un passé afro-brésilien.

To cite this paper:  Ford, Chris. (2012). “The Found Object in Design,” Forward 112: Process. AIA National Associates Committee, American Institute of Architects, July 2012. p38-51.

---

While artists have an established record of scholarship about the role of found objects in their work, there is a disappointing lack of scholarship that considers the role of found objects in design. Perhaps this can first be attributed to the different motivations by which an artist and a designer choose to incorporate a found object.  This difference in motivations illuminates that primary reasons for selection are rooted in the source disciplines themselves. The found object in art has no responsibility to perform beyond its aesthetic affect, and the found object in design has no further responsibility beyond its pragmatic (i.e. mechanical, structural) affect.  Because the incorporation of found objects is non-essential to all design solutions, then as designers, there is a need to explicitly understand the benefit of incorporating found objects, the criteria for their selection, their impact on design thinking, and their ramifications for use.  This paper will articulate four generative strategies for how found objects are / can be used within the design discipline: Resource Availability, Political Heuristics, Creative Heuristics and Aesthetic Heuristics.  Design solutions from both architectural design and industrial design are used in support of the formation of these categories, which include work by Michael Rotondi, Phoenix Commotion, Baker + Hesseldenz Design, and LOT-EK.  Ultimately, this paper showcases the finished design work of students for an assignment titled “FOCO: The Found-Object Craft-Object,” in which each author must answer the question of how ought a found object be used in design.  Student work featured emerged from a three credit hour graduate-level elective titled “Modern Craft” offered by the author while faculty at the University of Nebraska, College of Architecture.

The development of smallholder irrigation is a policy priority in Ethiopia, yet little consideration has been given to the role state interventions play in enabling or constraining effective self-governance in farmer-managed schemes. To address this gap in evidence, research was conducted in Tigray, northern Ethiopia, in two irrigation sites. Focus group discussions and semi-structured interviews with key informants were the primary means of collecting data on local institutional arrangements, government interventions and management challenges. An opinion poll provided additional insights. Our case studies indicate that effective self-governance cannot easily be crafted by external actors. The introduction of modern irrigation technologies and formalized management arrangements has fostered dependency on external support and increased state influence in key decision-making processes, whilst traditional water user associations remain largely autonomous but have little access to financial resources. State interventions have also been poorly tailored to local context with negative consequences for performance, although there have been some successes where traditional arrangements for water management have been integrated into new institutions. The incorporation of farmer perspectives into performance assessments could facilitate more responsive interventions, and remains an important area of irrigation research and practice. Copyright © 2017 John Wiley \& Sons, Ltd.

ABSTRACTAbang None is a designation for Jakarta Tourism Ambassador. Researchers saw a phenomenon of self-transformation from a tourism ambassador to a celebrity. This phenomenon refers to case studies experienced by Maudy Koesnaedi, Bangpen, and Shabina Gianti. Researchers want to know the personal branding management process they want to form, and convey it to the public through Instagram social media. This study uses qualitative methods, with descriptive case studies, which depart from the Post Positivism paradigm. The concept used is personal branding, and is sharpened by the theory of Communication Private Management (CPM Theory). Data collection techniques are observation, interviews, and documentation analysis. The concept of personal branding proposed by Peter Montoya, refers to eight laws, namely the law of specialization, the law of leadership, the law of personality, the law of distinctiveness. , the law of appearance (the law of visibility), the law of unity, the law of p...

[FR v.infra] The aim of this paper is to question the traditional polis religion model as it presents an artificial, static and distorted image of the religious conditions in the Roman West. The religious experienceof the individual and his/her religious identity go far beyond the “civic cults”. Compared to the Iron Age, the Principate seems to be characterised by an enormous diversification of cults and cult practices. In every region and civitas, this diversity resulted from individual – and sometimes contradictory – choices concerning deities, theonyms, cult practices, architecture, sculpture, iconography, etc., with cults taking up substance from Greco-Roman, Greco-Oriental andindigenous traditions. This plurality is particularly characteristic for Gallia Narbonensis. Although media and architecture appear Greco-Roman in nature, “Romanitas”did not seem to play an important role for people’s religious expressions in Southern Gaul. Finally, we should not overestimate the role of the “Roman model” in the study of religions in the Roman West : the creation of a Roman-style municipality is only one step in the development of manylocal cults, notably in Southern Gaul where cults have already undergone profound transformations prior to the Roman conquest.
Résumé: L’objectif de cet article est de remettre en question le modèle de la religion poliade qui présenteune image artificielle, statique et déformée des conditions religieuses dans l’Occident romain. L’expérience et l’identité religieuses de l’individu vont au-delà des cultes civiques, car il faut tenircompte du grand choix de cultes disponibles sous le haut Empire : en comparaison avec la fin del’âge du Fer, le haut Empire se caractérise par une diversité de cultes et de pratiques cultuelles. Cette diversité, que l’on constate dans chaque région et dans chaque cité, résulte de choix individuels en ce qui concerne les divinités, les théonymes, les pratiques cultuelles, l’architecture, la sculpture, l’iconographie, etc. Les cultes tirent à la fois leur substance de traditionsgrécoromaine, gréco-orientale et indigène: cette pluralité est caractéristique des cultes de Gaule Narbonnaise. Bien que l’expression et l’architecture soient de tradition gréco-romaine, la Romanitas ne semble pas jouer un rôle important dans les expressions religieuses en Gaule méridionale. Finalement, il ne faut pas donner une importance excessive au modèle romain dansl’étude des religions de l’Occident: la création d’une municipalité romaine n’est qu’un pas dansl’évolution des cultes locaux, notamment en Gaule méridionale, où les cultes ont déjà connu des transformations profondes avant la conquête romaine.
Online version:
https://www.persee.fr/doc/ran_0557-7705_2010_num_43_1_1799
doi : https://doi.org/10.3406/ran.2010.1799

When you visualize the term “punk,” what do you see? Many contemporary viewers have an inclination to associate “punk” with a specific visual image, composed of a selection of iconic dress artifacts, such as the Mohawk hairstyle, leather jacket or metal-studded belt. And yet, many punks actively eschew such narrow definitions, arguing that there is really no “right” way of dressing in the punk style. Ironically, despite the popular media’s constant efforts to caricaturize the subculture and thereby reduce it to mere costumery, punk style is really about embracing individualism and freedom of self-expression.

Száz Pál kurzusa a Pesti Bölcsész Akadémián:

Kultúraköziség és hibriditás Borbély Szilárd műveiben

Az előadás-sorozat Borbély Szilárd azon műveit vizsgálja, melyekben a zsidó és keresztény (szöveg)hagyományok elemei sajátos módon ötvöződnek. Az így létrejövő új struktúrák általi jelentésmódosulások ambivalens viszonyt alakítanak ki az adott hagyománnyal. Elsősorban a Halotti Pompáról (annak is leginkább a Haszid Szekvenciáiról), a Míg alszik szívünk Jézuskája és a Szól a kakas már c. művekről van szó, mivel a három művet összekötő szövegkapcsolatokon túl ezekben nyilvánul meg a leghatározottabban a szerző azon törekvése, hogy a zsidó és keresztény hagyományt dialogikus helyzetbe állítsa. Az előadások a három szöveg és az azok által hivatkozott vagy megidézett hagyomány(ok) kapcsolatát vizsgálják a szövegköziség és kultúraköziség szempontjából. A szövegközi kapcsolatok hálózata Gérard Genette Palimsestes c. munkáját alapul véve kerülnek feltárásra, míg a kulturális fordítás, ambivalencia és hibriditás szempontjai Homi K. Bhabha The Location of Culture című, a posztkolonialista irodalomelmélet számára meghatározó művét alapul véve kerülnek elemzésre.

III. 2017. május 17., szerda 18.00 - ELTE

„Ha megveszed ezt a nótát, nem kell neked meghalni" – a Szól a kakas már szöveghagyományának felhasználása Borbély Szilárd műveiben

Az előadás a három tárgyalt szöveg legmarkánsabb intertextusát, az első magyar haszid csodarabbinak, Taub Eiziknek tulajdonított Szól a kakas már dalszövegét és az annak keletkezéséről szóló történetmotívum beágyazódását elemzi. Ez az előszöveg eleve a kulturális hibriditás különös esete, az átmenetiség, a haszid, népi, zsidó-magyar kultúra produktuma. A kultúra- és szövegközi átvétel folyamatainak tanulságai az említett Borbély-szövegek értelmezésének szempontjából kulcsszereppel bírnak.

http://pestibolcseszakademia.blog.hu/2017/04/19/kulturakoziseg_es_hibriditas_borbely_szilard_muveiben_szaz_pal_kurzusa

Can we use the "polis religion" model for understanding religious activities in the Roman provinces? No! Models based on Classical Greece and religious institutions in Rome are not helpful for understanding developments in the Roman provinces, like here in the case of southern Gaul. There, we see the importance of individualisation in a highly connected world. Even in major cities in this highly "Romanized" province, the nature of the religious activities is non-Roman and not controlled by a pro-Roman "ordo". This paper looks at a number of cites, like Nemausus / Nîmes, Glanum, Aquae Sextiae / Aix and her territory. Despite the wealth of epigraphic evidence, we can recognise that "public priests" are marginal in shaping the religious activities in this region.

This article examines how Alice Oswald’s book-length poem Dart complicates and extends debates about the local and global. Aspects of environmentalism that focus on a physical connection with a local environment have been criticised by those such as Ursula K. Heise and Val Plumwood, who argue that such a connection is insufficient and stress the need for a greater understanding of global interconnectedness. Whilst Dart has a distinctly local emphasis in that it focuses on the river Dart in Devon and the landscape that it flows through, the poem’s envisioning of this specific geographical feature is far from being static or isolated. In addition to combining different spatial and temporal elements, Oswald’s poem transcends the physical through its engagement with the river’s spiritual and mythological aspects. The ‘fragmented’ structure used to achieve this is read as a literary example of Claude Lévi-Strauss’s ‘bricolage’ since the idea of bricolage is also relevant in relation to ideas of the self. Michael Leyshon and Jacob Bull’s work on ‘the bricolage of the here’ is used to examine the relationship between place and the identities of Dart’s characters. This enables the ‘local/global’ debate to be seen in the context of the relationship between self and world as discussed in the work of Charles Taylor and David Borthwick.

This study takes researcher and reader down the rabbit hole of story with its unique approach to the phenomena of professional identity, professional learning, and school change. It examines the perspectives of 14 educators: a range of teachers and leaders in one independent Australian school and in the context of a teacher growth intervention. Extended literary metaphor and known literary characters operate as a symbolic and structural frame. The findings have implications for the theorisation of identities, and the research and implementation of professional learning and school change.

The aim of this essay is to give a brief introduction on Marches of the Lesbian, Gay, Bi-, and Transsexual Community (abbreviated with LGBT). First of all, the problematic of “authentically homosexual” space (Bell et al. qtd. in Hold and Griffin 409) in relation to the emergence of the queer scene is discussed. Consequently, this space must be appropriated in order to serve the needs of the LGBT-community. Due to the fact that “the dancefloor has always been a holy place”, the appropriation of space is demonstrated with the example of music in gay clubs (Gill 134 qtd. in J. Taylor 175). Since LGBT-parades show certain similarities with carnival, the fourth section of this essay is then devoted to Mikhail Bakhtin’s theory of carnival. Bakhtin’s hypothesis is that carnival “buries and revives” (12) the dominant system. Carnival does both, it weakens but also strengthens the dominant system. Therefore, Gay-parades can be also considered as a catalyst of political antagonism (Stallybrass and White qtd. in Lundberg 187).

This research project is a first-person, practice-led endeavour which contributes to the fields of both medical humanities and the sonic arts. Through a reflexive, auto-ethnographic process, employing a wide range of audio-visual methods, I set out to explore a range of possible creative strategies that might be available to the ‘artist in extremis’ – i.e. the artist working under conditions of illness, confinement, restriction or limited energy. This process was distilled down, over five years, to three conceptual vehicles in the form of vinyl records which sought to offer openings, strategies and responses to conditions of extreme limitation. 

From 2009-2014, the three vinyl record projects were developed by myself, an ex-broadcast filmmaker continuing to navigate a life under Chronic Fatigue Syndrome / Myalgic Encephalomyelitis (CFS-ME) since 1998. Each vinyl record project contains strategies across a given stratum of life of the ‘exhausted artist’. The project created a body of both methodological and practical outputs, aiming to bypass the exhaustion, poor cognition and pain associated with CFS-ME.

Through ‘triangulating’ a series of sonic projects, each of which was created in a ‘modular’ or ‘bricolage’ process, the resultant trilogy of interrelated 12” vinyl records created a kind of ‘cinema for the ears’. The recordings (with their sleevenotes and graphics) were subsequently published by both external record labels and also self-released via the University of the West of Scotland.

The Idioholism Vinyl Trilogy became an appropriate autoethnographic framework containing exercises towards a personal, ‘idio-holistic’ existence for a filmmaker who could no longer produce intensive film work. The expansive and attractive format of the 12” record, under the doctoral praxis, allowed for a more ‘modular’ approach and format than in formal filmmaking. As an ex-filmmaker who is now an exhausted artist, I postulate that a trilogy of vinyl records could hone and home the divergent media (i.e. soundtracks, spoken word, music, text, photography) – which, taken together, might have previously resulted in a complete film in my ‘past’ life.

Studio sul lavoro di Jean-Marie Floch in "Identità visive", in particolare con riferimento ai saggi:
- la via dei loghi
- il coltello del bricoleur
- estetica ed etica del total look chanel
Lo scopo del lavoro è analizzare semioticamente il rapporto tra un testo diverso da quello verbale e l'identità che esso trasmette all'interno di una certa cultura condivisa.

Research summary: The discovery of the coronavirus (SARS-CoV-2) and the spread of COVID-19 have led many governments to take drastic measures. The lockdown of large parts of society and economic life has come as an exogenous shock to many economic actors, not least innovative startups. This rapid response research combines a qualitative research design informed by entrepreneurial ecosystem actors with an analysis of policy measures called for, announced, and reportedly implemented in the international press. Interviews from an entrepreneurial ecosystem offer a first-hand account of the adversity startups face during a crisis and how by utilizing bricolage responses they cope, and the analysis of policy measures can serve as an inspiration to design support initiatives to protect startups from the consequences of the current lockdown and to alleviate the effects of future crises.

Managerial summary: The lockdown measures as a response to the spread of the new corona-virus threaten the existence of many innovative startups. Our rapid response research first illustrates the challenges entrepreneurs face as a consequence of the crisis. Second, we illustrate how entrepreneurs are dealing with the effects of the crisis and what they are doing to protect their ventures. Finally, we present measures that could be utilized by policymakers to assist entrepreneurs facing challenges. The research conducted suggests that while startups are suc-cessfully leveraging their available resources as a first response to the crisis, their growth and innovation potential are at risk. Therefore, policy measures should not only provide first aid to startups by alleviating the pressure caused by constrained cashflow, but also involve long-term measures embedded in and supported by the wider entrepreneurial ecosystem to ensure rapid recovery and growth.

Shifting Earth Archivers explores notions of human and non-human memory, solastalgia, and archiving in relation to North-Rhine Westphalian's lignite industry, focussing on both the current Hambacher Mine and the historical mines in the area which have been transformed into lakes. The question that drives this research is two-fold: partly focused on this specific case study, shining a light on the site-specific ecology, endangered local culture, and present activism groups, partly focused on methodologies of artistic research and bricolage and the possibilities of its activism. By highlighting the manner in which the shifted landscape testifies about its erased industrial history and by reviewing the industry's deployment of myth and symbolism within the rebranding of the destroyed landscape, the thesis advocates for an inclusive and less patriarchal form of archiving which can function as new-materialist activism at the same time.

""reviews:
This groundbreaking book brings depth of meaning and intellectual scholarship to the field of human development while also lifting the human spirit by offering new dimensions of self-formation through the ancient medium of Tarot. It should be of great interest to health and human service professionals. JEAN WATSON, Distinguished Professor, University of Colorado Denver College of Nursing; author of Nursing: The Philosophy and Science of Caring and Caring Science as Sacred Science.

Semetsky's book is a timely antidote for our current crises in education. Drawing on her empirical research with Tarot and her deep knowledge of Jungian psychology, she offers an approach to education that stirs the depths of the Self as it deepens mind into soul. Her Tarot hermeneutic opens a path toward a revolutionary pedagogy that, in its commitment to the complexity, fullness and fluidity of human subjectivity, recovers the ethical and therapeutic dimensions of education. A bold book, a daring achievement, a spark of illumination! ROBERT D. ROMANYSHYN, Senior Core Faculty, Pacifica Graduate Institute; Affiliate Member of the Inter-Regional Society of Jungian Analysts; author of The Wounded Researcher: Research with Soul in Mind and Ways of the Heart: Essays toward an Imaginal Psychology.

This text elucidates the potential of Tarot well beyond its popular usage. It demonstrates how Tarot can become a pedagogical and counseling tool for enriching human experiences and the whole of culture with wisdom, integrity, meaning, and spirituality. A must to read! MARY K. GREER, author of Tarot for Your Self: A Workbook for Personal Transformation.

Bringing together popular and academic cultures, Inna Semetsky presents Tarot as a system of transformative hermeneutics for adult self-education and cultural pedagogy. Her research is a decisive and intelligent step ahead from the reductive stereotype of Tarot as fortune-telling. The fifteen life stories at the heart of the book exemplify the author's commitment to alternative modes of education and counseling that transcend individual, cultural or language barriers. Assembling a rich array of sources, from Hermeticism to Jungian depth psychology, the philosophies of Noddings, Buber, and Deleuze, and the science of self-organization, this book opens a new path to personal and social revitalization. It should be widely read across disciplinary divides by scholars, students, and professionals alike. PHILIP WEXLER, Professor, Hebrew University of Jerusalem; author of Symbolic Movement: Critique and Spirituality in Sociology of Education and Holy Sparks: Social Theory, Education and Religion.""

Cette thèse a pour objectif de mettre en lumière divers aspects de la « culture des contraires » - une culture traduisant une propension pour la juxtaposition d'éléments à première vue fort différents. Dans le premier chapitre, nous offrons au thème de la culture des contraires un point d'ancrage qui a été assez peu exploité dans la recherche : les réflexions des néoplatoniciens sur les symboles. Ces réflexions développent une conception selon laquelle la monstruosité et la laideur sont le reflet nécessaire - et non la pure antinomie - du beau. Le monstrueux ou « contre nature » est alors digne d'être considéré puisqu'il peut évoquer son contraire. Nous concluons ce chapitre par une illustration de la singularité et de la fécondité de cette perspective, avec l'étude d'un film, Night of the Demon (1957), dans lequel luttent deux tendances opposées par rapport au monstrueux : l'évocation et la monstration. Dans le deuxième chapitre, nous retenons trois notions importantes pour bien comprendre la culture des contraires: l'éclectisme, le syncrétisme et le bricolage. L'éclectisme se traduit par une ouverture aux différences; par la volonté d'accueillir les idées les plus diverses sans les considérer exclusives. Le syncrétisme, pour sa part, implique davantage : la synthèse d'éléments divers débouche ultimement sur la fusion de doctrines qui semblent avoir peu de choses en commun. Autrement dit, le libre choix n'est pas effectué pour lui-même, mais pour faire système. La notion de bricolage, quant à elle, a souvent été utilisée dans les sciences sociales, au XXe siècle. Nous nous attardons d'abord aux réflexions de Lévi-Strauss sur le bricolage, puisque ces réflexions ont durablement influencé des penseurs (Genette, Derrida, Deleuze et Guattari, de Certeau, Lyotard) dont nous rappelons les principales intuitions. Une fois le sens de l'éclectisme, du syncrétisme et du bricolage bien établi, nous nous efforçons, dans la deuxième partie de la thèse, d'étudier les contraires en tant qu'ils s'inscrivent dans des pratiques et des productions culturelles. Nous nous intéressons d'abord aux conduites extrêmes. Moins encadrées par les institutions, les formes contemporaines du rite de passage sont souvent étonnantes, voire choquantes. Les jeunes sont amenés à expérimenter d'une manière souvent forcenée: ils doivent inventer de nouvelles formes rituelles pour mieux négocier les passages les plus cruciaux de leur existence. Dans un premier temps, nous nous penchons sur l'engouement des jeunes pour les jeux vidéo - plus précisément, pour les jeux de combat. Nous poursuivons avec l'analyse de deux phénomènes unissant l'expression artistique et le rite : celui des tags et des graffiti et celui des arts du corps. Nous mesurons jusqu'à quel point ces phénomènes permettent au jeune de se façonner une identité, selon une esthétique bricoleuse qui allie le bagage personnel du participant et de nombreux emprunts. Par rapport aux notions d'éclectisme et de syncrétisme, le bricolage comporte de très fortes résonances artistiques. Les deux derniers chapitres exploitent donc cette dimension du bricolage. Le quatrième chapitre est principalement traversé par un mouvement artistique qui accorde une place prépondérante aux synthèses inattendues : le surréalisme, qui tend à réunir ce qu'on avait tendance à dissocier. Cet effort visant à réunir les contraires se répercute sur tous les aspects du mouvement. Dans le cinquième et dernier chapitre, nous poursuivons notre étude des inscriptions culturelles du jeu entre les contraires. Mais tandis que nous nous étions intéressés à la création artistique dans le quatrième chapitre, il s'agit, cette fois, d'adopter le point de vue du récepteur; dans l'économie de cette réception, nous nous intéressons au rapport entre le culte et la culture, par le truchement du phénomène des œuvres et des figures cultes. L'usage du terme « culte » suggère un certain rapport au religieux. Nous scrutons également l'émergence et l'évolution d'un discours qui prétend opérer un renversement radical par rapport aux critères esthétiques modernes : non plus préoccupés par l'élection de chefs-d’œuvre, les membres de cette sous-culture jettent volontairement leur dévolu sur des films médiocres. Cette esthétique paraît opérer une sorte de désublimation du beau classique dans un geste qui rappelle, à bien des égards, l'attaque contre le « bon goût » orchestrée par la mouvance néodadaïste de l'art contemporain.

In this study a component of long-term peacebuilding practice - restorative justice
processing - was examined in South Africa’s unequal, transitional context. Based on
multidisciplinary literature, Galtung’s (1996) notion of cultural-structural-direct violence,
Cohen’s (2001) theory of denial, and empirical data, a conceptual argument was made
that a conspiracy of silence (cultural violence) exists about the interaction of growing
inequality (structural violence) and the levels of crime/social harm (direct violence).
Victim offender mediation, as a form of restorative justice processing, was an embedded,
(Yin, 1994) instrumental (Stake,1995) case which provided micro level information about
peacebuilding practice. Peace studies was chosen as the core discipline in this multiperspectival
study, as it allowed micro-macro linkages to be made deductively and
inductively. Empirical data was generated by a 360° formation of six sub-units comprised
of victims, offenders, practitioners, prosecutors, key experts, a Norwegian external subunit
(which provided a keyhole comparison of activities inside the ‘black box’ of victim
offender mediation), and observation.
The research discovered four interlinked gaps in restorative justice processing. These
gaps are contextual, conceptual, training and practice related. Patterns of denial - that
manifested as procedural blindness, substantive deafness and a complicit silence about
the interaction of cultural, structural and direct violence - resulted from the combined
effects of these interlinked gaps. Recommendations for education, training and coaching,
based on the conceptual argument and comprehensive model of findings, were developed
to fill the interlinked gaps, so that restorative justice practitioners can be better placed to
contribute to long-term peacebuilding in a structurally responsive way. A caveat applies:
ultimately, society and individuals must change and restorative justice processing on its
own can only take society part of the way towards social justice.

Buskers—street performers—evince the creative tactics of self-conscious agents who are both produced by and productive of the social and material conditions within which they carry out their practices. In this article, I discuss my ethnographic research among buskers in Montreal's underground transit system—the metro—and examine their highly variable and improvisational practices (musical and spatial). I detail how buskers work with and against the constraints and possibilities posed by the material characteristics of those spaces (especially in terms of acoustics) as well as formal regulations and prevailing social norms. This suggests understanding busking as a relational process of " cobbling together " that is never entirely fixed or bounded, but dispersed and always in-the-making. Further, I demonstrate how the research process in this context is itself a creative, improvisational approach, guided as much by the conditions at hand as by an overarching research design. By drawing parallels between the busker-performer and my role as researcher and creative producer, particularly in my use of audiovisual production, I argue that ethnographic research is, itself, a form of assemblaging, of bricolage—an embodied, relational process that involves multiple participants (human and material) of varying influences, bound together by the tactical activities of the researcher.

Braconnage culturel débusquant la création dans la banalité de la vie quotidienne, l’art du bricolage ne peut être rangé ni dans un cadre disciplinaire ni dans un mouvement conceptuel ou esthétique. Aussi n’est-il pas sans interroger le statut de l’artiste et la place de l’art dans la société. Art autodidacte et indiscipliné, individuel et collectif, commun et hors norme, éphémère et éternel, présent et intemporel, simple et complexe, ordonné et chaotique, utilitaire et libre, cru et élaboré, en marge et central, il est un art fait par tous.

Abstract

Current dissertation deals with the works of Szilárd Borbély, an author who passed awayrecently and who was one of the most influential representatives of the Hungarian contemporary poetry. It investigates intertextual and intercultural aspects in three selected works Splendor of Death, While Jesus Child Sleeps in Our Heart, The Rooster is Already Crowing, which possess intertwined intratextual relationships among the author’s oeuvre. Present work is divided into three main parts following a basic strategy of interpretation: in the first part there is an attempt of building a theoretical basis for further analysis using theories of transtextuality developed by Gérard Genette, and postcolonial theory of Homi K. Bhabha (cultural ambivalence, hybridity and mimicry). Second and the longest part contains analytical studies using mentioned theoretical background for interpretations of author’s three works. These chapters analyze the motif and figure of the Messiah in relation with the context of religious tradition, the mutual intertext of three works (Hungarian Jewish folksong, The Rooster is already Crowing) and the manner of adaptions, the time concepts in relation of old Hungarian literature and liturgical tradition, the using of cosmogonic motifs (creation, Golem) inherited from Hasidism and Lurianic kabbalah. Third part contains preliminary remarks for analytic chapters, as intertextual and postcolonial interpretation of the abovementioned folksong, or relations of While Child Jesus Sleeps in Our Heart with apocryphal narrative tradition about birth of Jesus Christ and Jungian and mythographic interpretation of symbols used by author. Thanks to the radical usage of texts of others and himself, the elements of Christian and Jewish tradition, Borbély established a unique poetic language that, on the one hand, was based on ambivalent relationship with tradition (in extent cases as provocation, blasphemy or heresy) thanks to autonomous dynamics of bricolage poetics. On the other hand, by using elements of two religious traditions (their selection, mixing and mingling as well as creating new meanings and semantic structure) this poetics can be characterized also as a transcultural process producing cases of cultural translation, ambivalent meanings, mimicry of some elements of tradition, and hybrid structure.

Keywords: Hungarian contemporary poetry, transtextuality, hypertextuality, bricolage, cultural ambivalence, hybridity, mimicry

Absztrakt
Jelen disszertációs dolgozat a kortárs magyar líra egyik legbefolyásosabb költőjével, a néhány éve elhunyt Borbély Szilárd műveivel foglalkozik. A szerző három művét, a Halotti Pompa, Míg alszik szívünk Jézuskája, Szól a kakas már címűeket – melyeket szoros intratextuális kapcsolatok fűznek egymáshoz – vizsgálja közelebbről a szövegköziség és kultúraköziség szempontjából. A munka három részre tagolódik az értelmezés stratégiáját követve: az első rész a további elemzések elméleti megalapozását kíséreli meg Gérard Genette transztextualitás- és Homi K. Bhabha posztkoloniális elméletét (a kulturális ambivalencia, hibriditás és mimkri fogalmait) véve alapul.
A második és leghosszabb rész elemző tanulmányokat tartalmaz, melyek az elmített elméletek aspektusait tekintetbe véve a szövegértelmezésre összpontosítanak. E fejezetek vizsgálják a Messiás motívumát és alakját a vallási hagyomány kontextusában, a három szöveg közös intertextusának (a zsidó-magyar Szól a kakas már… kezdetű népdal) felhasználását, az időkoncepciókat a régi magyar irodalom és a liturgikus hagyomány tükrében, ahogy a haszidizmustól és a luriánus kabbalától öröklött kozmogóniai motívumok (teremtés, Gólem) alkalmazásának módjait is. A harmadik rész az említett szövegelemző fejezetek előzetes tanulmányait összegezi: a Szól a kakas már posztkoloniális és szövegközi vizsgálatát, vagy a Míg alszik szívünk Jézuskája kapcsolatát a jézusi születéstörténet apokrif narratíváival, vagy a szerző által alkalmazott szimbólumok jungiánus és mitográfiai értelmezését végzi el. A saját és idegen szövegek, a zsidó és keresztény hagyomány elemeinek felhasználásának radikalitása által Borbély sajátos költői nyelvet teremtett meg, amelyet egyrészt a bricolage-poétika autonóm dinamizmusának köszönhetően a hagyományhoz való ambivalens viszony (melyek extrém eseteiben provokációról, blaszfémiáról, sőt eretnekségről beszélhetünk) jellemez. Másrészt pedig a két vallási hagyomány elemeinek felhasználása (ezek szekciója, keverése, új jelentések és szemantikus kapcsolatok megteremtése) által a transzkulturális információcsere során a kulturális fordítás, a jelentések ambivenciája, a másik tradícióból érkező elemek mimikrijének jelenségeit generálja.

Kulcsszavak: kortárs magyar költészet, transztextualitás, hipertextualitás, bricolage, kulturális ambivalencia, hibriditás, mimikri

Abstrakt
Predkladaná dizertačná práca sa zaoberá dielami jedného z najvýznamnejších básnikov maďarskej literatúry, nedávno zosnulého Szilárda Borbélya. Skúma medzitextové a medzikultúrne aspekty v jeho troch konkrétnych dielach, Pompa Funebris, Kým Ježiško v našich srdciach spí, Kohút už spieva, ktoré majú prepletené intratextuálne vzťahy v rámci celoživotného diela autora. Práca je rozdelená na tri hlavné časti nasledujúc interpretačnú stratégiu: analýza diel z aspektu transtextuality Gérarda Genettea a postkoloniálnej teórie Homi K. Bhabhu (heslá kultúrna ambivalencia, hibridita a mimikri) slúži ako základ pre druhú časť, ktorá je najobšírnejšia, a sústreďuje sa na interpretáciu spomínaných textov. Tieto kapitoly skúmajú motív a postavu Mesiáša vo vzťahu k náboženským kontextom, spoločný intertext diel (Maďarsko-Židovskú ľudovú pieseň Kohút už spieva) a podoby jeho použitia, koncepty času vo vzťahu so starou maďarskou literatúrou a liturgickou tradíciou, ako aj kozmogonické motívy (stvorenie, Golem) zdedené z hasidizmu a luriánskej kabaly. Tretia časť obsahuje predchádzajúce analýzy o ktoré sa spomínané kapitoly opierajú, ako medzitextová a postkoloniálna interpretácia spomínanej ľudovej piesne, alebo vzťah hry Kým Ježiško v našich srdciach spí s apokryfnou tradíciou naratív o Ježišovom narodení ako aj jungiánska a mytografická analýza symbolov použitých autorom. Szilárd Borbély vďaka radikálnemu využívaniu cudzích a svojich textov vytvoril unikátny jazyk, ktorý je na jednej strane založený na ambivalentnom vzťahu s tradíciou (v hraničných prípadoch sa stretávame s provokáciou tradície, blasfémiou či heréziou) kvôli autonómnemu dinamizmu interpretácie bricolage-štruktúry. Na druhej strane, použitím prvkov dvoch náboženských tradícií (ich selekcia, zmiešanie a spájanie, vytvorená nová sémantika a nové významy) táto poetika môže byť charakterizovaná aj ako transkultúrny proces, ktorý produkuje prípady kultúrneho prekladu, ambivalencie významu, mimikry prvkov tradície, a hybridnú štruktúru.

Kľúčové slová: maďarská súčasná poézia, transtextualita, hipertextualita, bricolage, kultúrna ambivalencia, hybridita, mimikri

Publicado na revista Lugar Comum, nº 52:
http://uninomade.net/lugarcomum/52/

Imaginando  com  o  cinema  de  ficção  científica  um  cenário  de  expansão  da  precarização da  vida  humana  e  o  esgotamento  das  expectativas  de  transformação  desta  condição,  a bricolagem  se  apresenta  em  diversas  discussões  recentes  enquanto  uma  prática  de criação  de  novas  possibilidades  a  partir  de  situações  limites.  Este  ensaio  busca  traçar uma  imagem  do  pensamento  bricoleur,  mostrando  o  seu  modo  criativo  de  racionalidade e  interação  com  o  mundo.  Faço  aqui  uma  genealogia  do  conceito  de  bricolagem  a  partir da  arte,  passando  por  uma  leitura  de  textos  do  Lévi-Strauss  e  confrontando  esta  leitura com  textos  de  Eduardo  Viveiros  de  Castro  e  Isabelle  Stengers.  O  que  busco  propor  aqui é  um  conceito de  bricolagem  enquanto  prática  de  pensamento relacional com um  mundo em constante variação  e  um universo de  afecção  mútua  entre  seus componentes.

En este trabajo se describe cómo operan los discursos en relación a su carácter histórico-social, y se brindan herramientas prácticas para su comprensión, a través de la estratégia del Análisis Crítico del Discurso, para facilitar su uso pedagógico-popular.

Despite the extent of intensive urbanisation and centuriation across Roman North Italy, Rome’s impact seems to have been less significant than often assumed. The religious landscape shows a number of non-Roman features, such as Celtic theonyms and non-Classical iconography. What is even more striking are parallels with cultural patterns of the late Iron Age: there emerges a particularly active region as attested by a myriad of votive inscriptions, largely focusing on the area between  Vercelli/Vercellae, Novara/Novaria and Milan/Mediolanum,  spreading north beyond the Lago Maggiore and Lago di Como, and east to Bergamo. This is an area where one can already recognise well-defined archaeological identities in the Iron Age, which in part go back to the Golasecca culture of the 6th-5th century BC and had given rise to new cultural identities in the late Iron Age, associated with the Insubres and their neighbours.
Though it is difficult to talk about ‘indigenous’ (or ‘native’ or ‘autochthonous’) cults of pre-Roman (or pre-Augustan) origin, it does however seem likely that cults and deities in this region continued to be shaped, at least to some extent, by pre-Roman religious understandings and cultural identities, leading to specific expressions of ‘religiosity’ in the Principate. This does not mean that we are dealing with cultural resistance or persistence of pre-Roman cults, but that local inhabitants created cults that were typical for particular regions of the Transpadana in the Principate – a process that appears quite independent from urbanisation and municipalisation processes. Rather than resistance, we can recognise how Greco-Roman visual language and mythology were combined with existing local (‘indigenous’) beliefs and myths, giving rise to new religious expressions in the Principate, leading to an enormous diversity of the cults and sacred landscapes in the Transpadana and Cisalpine Gaul in general. This results in particularly localised religious features, like the popularity of the cult of Hercules, variations of the cults of Jupiter, Mars, Diana, as well  as the Matronae.

This paper provides an introductory overview to the Humanities special issue on 'spatial bricolage'. The individual contributions that make up the special issue are outlined and salient themes pulled out that address and respond to some the wider discussion points raised throughout this introduction. These are closely focused around the central concept of bricolage and the idea of the researcher as bricoleur. Some background context on the anthropological underpinnings to bricolage is provided, alongside methodological reflections that relate the concept to ideas of 'gleaning' as a creative and performative engagement with everyday spaces as they are 'found' and rehearsed in practice. A core focus on questions of method, and of autoethnographic approaches in particular, is presented alongside questions of research ethics and the policing thereof by institutional structures of disciplining and audit in the neoliberal academy. It is argued that bricolage is, among other things, a practical response to a field of practice that at times constrains as much as it allows space to roam, unimpeded, across disciplinary boundaries. From the overarching purview of spatial humanities and spatial anthropology, it is shown that discussions of bricolage and the researcher as bricoleur can help make explicit the poetics and affects of space, as well as the ethical and procedural frameworks that are brought to bear on how space is put into practice.

Résumé: Parmi les religiosités qui se substituent aux grandes traditions religieuses, les mouvances néopaïennes, associées aux religions antiques et médiévales préchrétiennes, connaissent un essor de plus en plus important. Le néodruidisme, qui s’attache plus spécifiquement à restaurer l’ancien système religieux des peuples celtes de l’Antiquité, l’illustre bien. Apparu au XVIIIe siècle en Grande-Bretagne, il s’est peu à peu transnationalisé pour être aujourd’hui présent dans l’ensemble des pays occidentaux. Pour ses pratiquants, il s’agit ainsi de réhabiliter les croyances, savoirs et pratiques des druides antiques dans un ensemble rituel nouveau, adapté au contexte moderne. À partir de mon enquête ethnographique réalisée auprès de néopaïens et de néodruides au Québec, j'analyse dans ce chapitre l’un des différents types de pratiques rituelles que l’on retrouve dans ces mouvances : les rites de passage, qui permettent aux pratiquants de souligner rituellement un événement qu’ils jugent marquant.

It is commonly recognized by the design research community that there is a ‘designerly’ way of knowing, first articulated by Nigel Cross (1982, 2006) that is distinct from other types of knowledge. This concept of designerly knowing can be extended to the field of academic research, as evidenced by research (Saikaly, 2004) into a designerly form of enquiry as well as the emergence of design PhD studies that have challenged the academy’s expectations of a traditional thesis. What are the implications of a ‘designerly’ way of researching for the nature and format of design doctoral studies?

To address this question, four characteristics of research approaches found in a study on design PhD methodologies (Yee, 2010) will be discussed and defined. They are: 1) a ‘bricolage’ approach to research design, 2) reflective practices, 3) the use of visual approaches and 4) thesis-structural innovation. These characteristics will be explored in more detail by using case study exemplars in order to guide research training for design postgraduate researchers, and to inform the evaluation of design PhDs. The author posits that methodological innovation is a reflection of a ‘designerly’ way of researching and should be more explicitly acknowledged in the evaluation of design doctoral studies.