Orphaned Landscapes

Less than a year after the end of authoritarian rule in 1998, huge images of Jesus Christ and other Christian scenes proliferated on walls and billboards around a provincial town in eastern Indonesia where conflict had arisen between Muslims and Christians. A manifestation of the extreme perception that emerged amid uncertainty and the challenge to seeing brought on by urban warfare, the street paintings erected by Protestant motorbike-taxi drivers signaled a radical departure from the aniconic tradition of the old colonial church, a desire to be seen and recognized by political authorities from Jakarta to the UN and European Union, an aim to reinstate the Christian look of a city in the face of the country’s widespread islamicization, and an opening to a more intimate relationship to the divine through the bringing-into-vision of the Christian god. Stridently assertive, these affectively charged mediations of religion, masculinity, Christian privilege and subjectivity are among the myriad ephemera of war, from rumors, graffiti, incendiary pamphlets, and Video CDs, to Peace Provocateur text-messages and children’s reconciliation drawings. Orphaned Landscapes theorizes the production of monumental street art and other visual media as part of a wider work on appearance in which ordinary people, wittingly or unwittingly, refigure the aesthetic forms and sensory environment of their urban surroundings. The book offers a rich, nuanced account of a place in crisis, while also showing how the work on appearance, far from epiphenomenal, is inherent to sociopolitical change. Whether considering the emergence and disappearance of street art or the atmospherics and fog of war, Spyer demonstrates the importance of an attunement to elusive, ephemeral phenomena for their palpable and varying effects in the world. Orphaned Landscapes: Violence, Visuality, and Appearance in Indonesia is available from the publisher on an open-access basis.

How exactly do linguistic landscapes communicate and what theoretical significance might follow from such an inquiry? This book addresses these questions by taking as its starting point the insight that the individual or organisation that is responsible for the production of a sign may not be physically present at the landscape itself. The information to be conveyed is typically designed as a piece of signage to be emplaced at the site. Drawing on Goffman’s notion of a production format, the book argues that the constructed piece of sign and its intended placement within the landscape combine to constitute an animator complex. This raises the possibility of a disruption to the sign and its placement in the landscape. The book describes various ways in which the integrity of the animator complex can be disrupted (e.g. the sign may be moved out of place through vandalism or acts of nature, or the organisation that the sign represents may no longer be in business), identifi es different types of animators, and expands on the implications for phenomena such as affect, multivocality, footing and the materiality of language. In doing so, the book also demonstrates the value of bringing in Bakhtin’s work on heteroglossia and the dialogicity of communication, integrating the ideas of Bakhtin with those of Goffman.

This is an investigation of arts and aesthetics in their widest senses and experiences, presenting a variety of perspectives which range from the metaphysical to the political. Moving beyond art as an expression of the inner mind and invention of the individual self, the volume bridges the gap between changing perceptions of contemporary art and aesthetics, and maps globalizing currents in a number of contexts and regions. The volume includes an impressive variety of case studies offered by established leaders in the field and original and emerging scholarly talent covering areas in India, Nepal, Indonesia, Iran, Russia, Rwanda, and Germany, as well as providing transnational or diasporic perspectives. From the contradictory demands made on successful artists from the south in the global art world such as Anish Kapoor, to images of war and puppetry created by female political prisoners, the volume compels creative and political interpretations of the ever-changing and globalizing terrain of arts and aesthetics.

A guide to understanding and coping with grief and all of the disorienting emotions that accompany the death of our parents Losing our parents when we ourselves are adults is in the natural order of things, a rite of passage into true adulthood. But whether we lose them suddenly or after a prolonged illness, and whether we were close to or estranged from them, this passage proves inevitably more difficult than we thought it would be. From the recognition of our own mortality and sudden child-like sorrow to a sometimes-subtle change in identity or shift of roles in the surviving family, The Orphaned Adult guides readers through the storm of change this passage brings and anchors them with its compassionate and reassuring wisdom.

What makes a person call a particular place 'home'? Does it follow simply from being born there? Is it the result of a language shared with neighbours or attachment to a familiar landscape? Perhaps it is a piece of music, or a painting, or even a travelogue that captures the essence of home. And what about the sense of belonging that inspires nationalist or local autonomy movements? Each of these can be a marker of identity, but all are ambiguous. Where you were born has a different meaning if, like so many modern Germans, you have moved on and now live elsewhere. Representing the 'national interest' in parliament becomes more difficult when voters demand attention to local and regional issues or when ethnic tensions erupt. In all these situations the landscape of 'home' takes on a more elusive meaning. Localism, Landscape, and the Ambiguities of Place is about the German nation state and the German-speaking lands beyond it, from the 1860s to the 1930s. The authors explore a wide range of subjects: music and art, elections and political festivities, local landscape and nature conservation, tourism and language struggles in the family and the school. Yet they share an interest in the ambiguities of German identity in an age of extraordinarily rapid socio-economic change. These essays do not assume the primacy of national allegiance. Instead, by using the 'sense of place' as a prism to look at German identity in new ways, they examine a sense of 'Germanness' that was neither self-evident nor unchanging.

Thought-provoking and fun to read, Orphan Moon confirms humility as both attainable and revelatory while pride, humility¿s antagonist, breeds ignorance. The book allows bloodlines and family traits spanning six generations to touch in the persons of Joseph Beaumont and Willie Earl Jeffers. Joseph is a self- described Texan, keeper of treasures, and reader of books. He has a rare listening ear and quiet wisdom and becomes a mentor of sorts to the inquisitive adolescent. The awakening of the boy¿s consciousness of heritage while remaining unsure of its relevance or worth provides the backdrop to challenges and adventures of the 1960¿s family clan. Willie Earl is to learn that life, legacy, and spirituality blend together nicely in accord, even as his unlikely Texas tutor, the eccentric Joseph, realizes his own healing.