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Teaching the Codex 2019 18: Armenian Palaeography

Series
Teaching the Codex
Embed
David Zakarian (Oxford) speaks at the 2019 Teaching the Codex colloquium about colophons in Armenian manuscripts.
David Zakarian (University of Oxford)

Episode Information

Series
Teaching the Codex
People
David Zakarian
Keywords
palaeography
Armenian
pedagogy
teaching
manuscripts
Department: Faculty of Medieval and Modern Languages
Date Added: 16/12/2019
Duration: 00:27:49

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Teaching the Codex 2019 17: Armenian Palaeography 1

Series
Teaching the Codex
Embed
Robin Meyer (Oxford) speaks at the 2019 Teaching the Codex colloquium about Armenian palaeography.
Robin Meyer (University of Oxford)

Episode Information

Series
Teaching the Codex
People
Robin Meyer
Keywords
palaeography
Armenian
pedagogy
teaching
manuscripts
Department: Faculty of Medieval and Modern Languages
Date Added: 16/12/2019
Duration: 00:25:34

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Teaching the Codex 2019; 16: Chinese Palaeography and Codicology

Series
Teaching the Codex
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Imre Galambos (Cambridge) speaks at the 2019 Teaching the Codex colloquium about teaching with manuscript codices from northwest China.
Imre Galambos (University of Cambridge)

Episode Information

Series
Teaching the Codex
People
Imre Galambos
Keywords
palaeography
codicology
chinese
pedagogy
teaching
manuscripts
Department: Faculty of Medieval and Modern Languages
Date Added: 16/12/2019
Duration: 00:26:37

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Teaching the Codex 2019 15: Hebrew Palaeography 2

Series
Teaching the Codex
Embed
Judith Olszowy-Schlanger (Oxford) speaks at the 2019 Teaching the Codex colloquium about the aims, methods, and challenges of teaching Hebrew palaeography.
Judith Olszowy-Schlanger (University of Oxford)

Episode Information

Series
Teaching the Codex
People
Judith Olszowy-Schlanger
Keywords
palaeography
hebrew
pedagogy
teaching
manuscripts
Department: Faculty of Medieval and Modern Languages
Date Added: 16/12/2019
Duration: 00:26:59

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Teaching the Codex 2019 14: Hebrew Palaeography 1

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Teaching the Codex
Embed
Stewart Brookes (Oxford) speaks at the 2019 Teaching the Codex colloquium on Hebrew palaeography in a digital age.
Stewart Brookes (King's College London and University of Oxford)

Episode Information

Series
Teaching the Codex
People
Stewart Brookes
Keywords
palaeography
hebrew
digital humanities
pedagogy
teaching
manuscripts
Department: Faculty of Medieval and Modern Languages
Date Added: 16/12/2019
Duration: 00:20:43

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The Elders know Nothing: the Inversion of Tradition in the New Mining Context

Series
African Studies Centre
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Ramon Sarró and Marina P. Temudo deliver paper at 'Cultural Production in Africa's Extractive Communities' workshop.

This is the fourth of five papers delivered at this workshop on 16 May 2019.

‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus.

This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the
21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it?

Episode Information

Series
African Studies Centre
People
Ramon Sarró
Marina P. Temudo
Keywords
comparing the copperbelt
mining
youth
art
Department: Centre for African Studies
Date Added: 14/12/2019
Duration:

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Youth, insecurity and intimacy in the popular arts of the Niger Delta

Series
African Studies Centre
Embed
David Pratten delivers paper at 'Cultural Production in Africa's Extractive Communities' workshop.

This is the third of five papers delivered at this workshop on 16 May 2019.

‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus.

This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the
21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it?

Creative Commons Licence
Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK (BY-NC-SA): England & Wales; https://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Episode Information

Series
African Studies Centre
People
David Pratten
Keywords
comparing the copperbelt
Africa
youth
art
Department: Centre for African Studies
Date Added: 14/12/2019
Duration:

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Artistic Movements: Music, Popular Painting and Cultural Exchanges on the central African Copperbelt

Series
African Studies Centre
Embed
Enid Guene delivers paper at 'Cultural Production in Africa's Extractive Communities' workshop.

This is the second of five papers delivered at this workshop on 16 May 2019.

‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus.

This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the
21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it?

Creative Commons Licence
Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK (BY-NC-SA): England & Wales; https://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Episode Information

Series
African Studies Centre
People
Enid Guene
Keywords
comparing the copperbelt
art
history
music
Africa
Department: Centre for African Studies
Date Added: 14/12/2019
Duration:

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Mobutist Modernism: Art Education, State Sponsorship and the Visual Arts in Zaire

Series
African Studies Centre
Embed
Sarah Van Beurden delivers paper at 'Cultural Production in Africa's Extractive Communities' workshop.

This is the first of five papers delivered at this workshop on 16 May 2019.

‘Cultural Production in Africa’s Extractive Communities’ is the sixth research seminar of the ERC project ‘Comparing the Copperbelt’ based at the University of Oxford. It focuses on the intersection between mining and cultural production in Central, Western and Southern Africa. Mining was one of the most important engines of transformation in Africa’s recent social and economic history. Industrial-scale mining – of gold, copper, tin, coal, oil, and diamonds – generated new towns and hurled people together from myriad cultural, linguistic and regional backgrounds. Thus, mining regions have also proved to be important venues of new forms of cultural production. Examples include DRCongo’s popular painting, Zambia’s psychedelic rock revolution in the 1970s, or Sotho migrant workers’ lifela song-poem genre. While certain forms of popular art have been the object of detailed study, e.g. in J.C. Mitchell’s 1956 ethnography of the Kalela dance, many of these studies have tended to be narrow in geographical focus.

This seminar will attempt a more global view and will look at a variety of cultural forms across a variety of regions and time periods. It will integrate analysis of cultural production into regional histories that have more commonly been characterised in structural and material terms, exploring the ways in which processes of cultural, political and economic change found expression in everyday life. Questions to be addressed include: in what ways did new forms of popular art integrate various cultural influences to address social issues specific to the mining context? How does the
21st century mining context, defined by plurality and competing global companies, impact cultural production? How do cultural forms produced in such contexts relate to and compare with those produced in other areas of the country? What can popular art tell us about the lived experiences of the societies that produced it?

Episode Information

Series
African Studies Centre
People
Sarah Van Beurden
Keywords
comparing the copperbelt
mobutu
art
education
Department: Centre for African Studies
Date Added: 14/12/2019
Duration:

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Is climate conflict inevitable?

Series
Futuremakers
Embed
In this Futuremakers episode we ask experts the question - is climate conflict inevitable?
In 2010, Jeffrey Mazo outlined in his book 'How global warming threatens security and what to do about it' four ways in which climate and environmental change could produce security threats - a general systemic weakening, boundary disputes, resource wars, and by multiplying instability in already fragile or weak states.  Yet so far in our second series, with conversations around energy use, international treaties and individual choices, talk of conflict has received much less attention. 
Is this a fair reflection of the relative threat, or should people be paying far more attention to these potential future developments? Is global conflict due to climate change inevitable?
With Peter to discuss this are; Kate Guy, from the Centre for Climate and Security in Washington DC, a doctoral researcher at the University of Oxford specialising in International Relations, who focusses on the intersection of climate change and national security; and Dr Troy Sternberg, from Oxford's School of Geography and the Environment, whose research has explored how environmental and climate changes in the Gobi region of northern China and Mongolia, have impacted on security in the Middle East.

Episode Information

Series
Futuremakers
People
Peter Millican
Kate Guy
Troy Sternberg
Keywords
climate change
global warming
climate
Environment
Energy
war
warfare
conflict
threat
security threats
Department: Oxford University Development Office
Date Added: 13/12/2019
Duration: 00:49:30

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