Researchers have long discussed whether Scandinavian rock art reflects narratives. Their interpretations have frequently been based on inspections of rock art panels combined with knowledge from ethnographic and historical sources. Here, the authors adopt a more focused narratological approach that takes the concept of (visual) narrativity into consideration and draws on studies by literary analysts, cognitive psychologists, and semioticians. Images of spear use in the provinces of Bohuslän and Östergötland in Sweden, given their diversity and indexical qualities, are well-suited to such a study. They reveal different kinds of indexical relationships, i.e. how the spears direct attention to possible targets, arguably corresponding to action scripts well-known to Bronze Age communities. Many spear images may be regarded as mini-narratives and mnemonic devices intended to represent schematized action sequences. The authors suggest that concepts such as iconicity, indexical relationships, scripts, and mini-narratives could be fruitfully employed in research on Scandinavian rock art and beyond.

This study examines the practice of ethnic communities in Bosnia and Herzegovina flying a state, entity, religious, or foreign flag at wedding ceremonies in public spaces. The wedding custom is analyzed through the lens of Hannah Arendt’s discussion of the way nationalism in the modern era links family and state. After a tragic war, flag power in this context appears to exacerbate nationalism and ethnic tensions in a polyethnic society trapped in a dysfunctional state structure created by the Dayton Accords. The empirical study finds that flag power does not, in fact, privilege ethnic solidarity over national solidarity to the degree that social and political theory would have us imagine. The national identity of being Bosnian is more likely to be exemplified. A clustered, stratified, random sample of 2,500 subjects over the age of eighteen was drawn from the country’s population, including the two entities, Federation of Bosnia and Herzegovina and Republika Srpska and Brčko District. Survey questions involving face-to-face structured questions asked participants whether flags were flown at their weddings, which flags were flown, and attitudes toward the wedding custom. Variations by age, religiosity, education, ethnicity, type of flag flown, and political party affiliation are reported and interpreted.

Initially criticized for its naïve representation of landscape features, Strauss's Alpensinfonie (1915) has in recent years been reinterpreted by scholars as a deliberate challenge to metaphysics, a late outgrowth of the composer's fascination with Nietzsche. As a consequence, the relationship between Strauss's tone poem and earlier artworks remains underexplored. Strauss in fact relied heavily on long-established tropes of representing mountain scenes, and when this work is situated against a backdrop of similarly themed Romantic paintings, literature, travelogues and musical compositions, many points of resemblance emerge. In this article, I focus on how human responses to mountains are portrayed within artworks. Romantic-era reactions were by no means univocal: mountains elicited overtly religious exhalations, atheistic refutations of all supernatural connections, pantheistic nature-worship, and also artworks which engaged with nature purely in an immanent fashion.

Strauss uses a range of strategies to distinguish the climber from the changing scenery he traverses. The ascent in the first half of Eine Alpensinfonie focuses on a virtuoso rendition of landscape in sound, interleaved with suggestions as to the emotional reactions of the protagonist. This immanent perspective on nature would accord well with Strauss's declared atheism. In the climber's response to the sublime experience of the peak, however, I argue that there are marked similarities to the pantheistic divinization of nature such as was espoused by the likes of Goethe, whom Strauss admired enormously. And while Strauss's was an avowedly godless perspective, I will argue in the final section of the article that he casts the climber's post-peak response to the sublime encounter in a parareligious light that again has romantic precedents. There are intimations of romantic transcendence in the latter part of the work, even if these evaporate as the tone poem, and the entire nineteenth-century German instrumental tradition it concludes, fades away into silence.

In this article I examine the impact of Felix Mendelssohn's affiliation with a German-Jewish subculture on his music as reflected in the Lieder ohne Worte (Songs without Words) for piano solo. To better understand the interrelationship between musical formations and sociocultural realities, I associate the real and imaginary tensions between the German, the Jewish, and the German-Jewish with stylistic ambiguities in Mendelssohn's piano songs, which often destabilize the lyrical simplicity projected by the lieder framework through formal complexities that exceed the narrow scope of the piano miniature.

I establish the connections between Mendelssohn's music and sociocultural disposition by identifying a correlation between his so-called stylistic ‘conservatism’ and the anachronistic devotion of German Jewry to the universal ideals of the Enlightenment during the rise of German nationalism. Against this background, I primarily reveal the generic heterogeneity of the Lieder ohne Worte, which feature ‘progressive’ stylistic frameworks associated with the lied traditions yet concurrently point toward the formal ideals of eighteenth-century classicism. And following this, I position the stylistic duality of Mendelssohn's piano songs within a broader context through Heinrich Heine's essay The Romantic School, which sheds crucial light on the negotiation of Jewishness within German culture as it is reflected in aesthetic movements, historical changes, and political climates.

E-commerce in China has developed and expanded rapidly in recent years. Conflicts and confrontations have accumulated in parallel. Using Taobao e-marketplace – one pillar platform of the Alibaba group – as its case, this article aims to analyse the developmental logic and profit-seeking strategies of e-commerce capitalism in China and beyond. It also investigates how small online merchants responded to and resisted the particular rent-extractive and exclusive mechanisms designed by the platform. I attempt to identify the emerging responses from below to both the creative and destructive sides of this newest capitalist development in China. I argue that, despite the militancy and innovation involved in these movements, and despite the use of Maoist rhetoric borrowed from the past, the contentious collective actions (online or offline) organized by these small online merchants lack the solidarity, the shared identity and consciousness, and the powerful ideological language observed among the “traditional” working class in industrial capitalism, and hence they are more improvised, transient, and easily defeated.

Cette étude porte sur l’intonation des énoncés interrogatifs dans la parole des apprenants finnophones du français. Le corpus consiste en des enregistrements où 15 apprenants finnophones du français et un groupe de contrôle de 5 locuteurs natifs du français lisent un extrait d’un dialogue tiré de la pièce de théâtre En attendant Godot (Beckett, 1952). Les résultats montrent qu’aussi bien les apprenants finnophones que les locuteurs natifs du français produisent une montée intonative à la fin des questions totales d’information. En ce qui concerne les questions partielles, les résultats sont plus divergents : le plus souvent, les apprenants finnophones produisent aussi une montée intonative à la fin d’une question partielle, tandis que dans la parole des locuteurs natifs, l’intonation descendante et plate sont nettement plus fréquentes.

Comme l’intonation montante n’a pas de fonction interrogative établie en finnois, cette étude apporte des preuves supplémentaires du fait que tous les traits prosodiques de la parole des locuteurs L2 ne peuvent pas être expliqués par la transmission directe de la L1. La fréquence des contours montants dans la parole des apprenants finnophones est probablement liée au fait que l’importance de monter l’intonation à la fin des énoncés interrogatifs est soulignée dans l’enseignement du FLE.

The article challenges the fashionable but finally unsupportable opinion in political and academic circles that there exists no compelling, unitary, universally resonant moral and legal justification of human rights. The argument is intimated by two overlooked passages in the preamble to the Universal Declaration of Human Rights that presuppose the right of self-defense against arbitrary force, understood as both a moral and legal concept, and as relevant both to personal and collective life. It shows how the logic of defensive force underlies the three formative human rights instruments: the UDHR, and the two covenants on political, legal, economic, social, and cultural rights. The underlying claim is that good reasons of a particular kind are required to justify any use of force, a claim that makes perfect sense against the backdrop of the atrocities committed by the German fascists and their allies in the mid-twentieth century. The article also refers to compelling, if preliminary, evidence of the widespread cross-cultural acceptance of the moral and legal right of self-defense, suggesting a basis for the worldwide comprehensibility and appeal of human-rights language.

This article utilizes an organizational history of the Birmingham-based Handsworth Single Homeless Action Group (HSHAG) to explore black youth homelessness and inner-city policy in 1980s Britain. It draws upon under-used charity archives to intervene in recent debates, considering the part played by the voluntary sector within the Thatcher administrations’ inner-city policies and what targeted funding of this kind reveals about the remaking of the welfare state in these years. First, it introduces HSHAG, setting out the context of inner-city funding programmes, before questioning how sustainable this might have been for voluntary organizations engaged in supporting the homeless population. Secondly, it examines the effects of housing privatization and unemployment on HSHAG's attempts to advise homeless black individuals and assert their rights as citizens to state support. Together, it exposes the role of the voluntary sector in welfare state restructuring and considers how this change made the task of homelessness organizations Herculean.

This article presents the background to and prospects for a new initiative in archaeological field survey and database integration. The Roman Hinterland Project combines data from the Tiber Valley Project, Roman Suburbium Project, and the Pontine Region Project into a single database, which the authors believe to be one of the most complete repositories of data for the hinterland of a major ancient metropolis, covering nearly 2000 years of history. The logic of combining these databases in the context of studying the Roman landscape is explained and illustrated with analyses that show their capacity to contribute to major debates in Roman economy, demography, and the longue durée of the human condition in a globalizing world.

Applying a spatial lens to the oral histories of heterosexual women who had intercultural romantic relationships in Leicester from the 1960s to the 1980s provides an alternative perspective on their experiences. This article examines these women's movements into and around the inner city, eliciting discussion about the concept of ‘safe’ places and spaces and the factors that determined the transient nature of these spaces. It illustrates opportunities created for intercultural mixing, away from familial gaze and public hostility. Utilizing such spaces to develop and sustain their relationships reveals a previously unacknowledged female agency that also enabled an ‘everyday multiculturalism’ in the British city.