For some historians, especially those contemporary with the event, the Armistice (11/11/ 1918, the 11th hour) meant the end of the Great War and the carnage. However, between 1918-1920, in Europe, even after the collapse of the empires, there were still bilateral military conflicts, international litigations, great social upheavals, civil wars. A new geopolitical configuration emerged as a result of the dissolution of empires, while Bolshevism grew as a totalitatian socio-political system. The installation of the Armistice, the negotiations and peace treaties concluded (see the case of the Paris Peace Conference, 1919-1920) are not always synonymous with the restoration of peace and the return to „normalcy”. The repercussions on the lives of civilians and demobbed soldiers rejoining civilian life were difficult and rather unpredictable. The collective trauma took a long time to recede, the society’s reconstruction was slow and the economic revival was fragile. Frustration and skepticism became generalized attitudes, especially among the working class and the intellectuals. The political landscape was determined by fluctuations, institutional reconfigurations, the writing and rewriting of constitutions and the reconsideration, from a modern perspective, of citizenship.
Social polarization and the deployment of class hatred, anti-Semitism, ethno-cultural variations and geopolitical changes, the accelerated liberation of women, all led to a diminished tolerance of women, ethno-cultural minorities and foreigners.
The war itself and the diseases which, after the war, decimated the civilian population, famine and the difficult reconstruction reinstated another imagery of Death. It emerged, in the representations of this age, with the full power of medieval symbolism. Conversely, the conservative social norm was eluded by reinventing music, literature and art, the culture of the body.
Memoirs, literature and visual arts reacted against the new challenges, expressing the traumas of the age and evoking pacifism, as well as the disbelief in the moral progress. In the countries where the national dream came true or which pushed the cause of autonomy further (see Ireland), another phenomenon occured, the construction of a mythical aura around the emblematic figures of the war, the birth of a cultural pantheon. Both the official and the popular discourse framed the mythology of victory, the new axiological pantheon. But there is also a mythology of defeat, an exacerbation of the Golden Ages, stimulating the desire for payback and recovery.
Specifically, visual arts, literature and film best reflect, in our view, these mutations. That is why we welcome the papers which will choose to focus on the investigation of this area.
Please send your contributions to: , ,
Deadline for submission: 15 August 2018.
GUIDE FOR AUTHORS
1. The Brukenthalia. Review of Cultural History scientific journal receives contributions under the form of unpublished research papers, review papers written in English. The field of interest is Cultural History. The accuracy of translation is the author’s responsibility.
2. The corresponding author should clearly state in a distinct document (To whom it may concern) that the submitted manuscript has not been published, submitted or accepted elsewhere and, if collective authorship, that all authors agree with the content and the submission of the manuscript.
3. The manuscript should be submitted as a single file in *.doc (Microsoft Word) format (or edited in Open Office) and shall contain: (1) to whom it may concern document, (2) manuscript, (3) list of illustrations and (4) tables (if required). Together with document the authors should attach *.jpeg or *.tiff format illustrations (legend marked inside text).
4. The manuscript should not exceed 20 pages (bibliography included), written in Time New Romans (TNR), font size 11, justified, single row, 2 columns, A4 page format, 2 cm margins. The pages should not be numbered. The manuscript should contain an abstract and keywords in English and another one in Romanian (Romanian translation will be provided by editors if authors have no means under this respect).
The submitted manuscript should be arranged as follows: (1) title, (2) author’s name, (3) author’s affiliation and e-mail address, (4) abstract, (5) keywords, (6) manuscript, (7) references, (8) list of illustrations, (9) tables.
Title: The title should be concise, written in Times New Roman, size 11, with majuscules and centered. Authors: Two rows below the title, write the full name(s) of author(s) in TNR, size 11, font bold, centered. Affiliation: Write the affiliation(s), e-mail address in TNR, size 11, justified, below the author’s name.
Abstract: Two rows under the author’s name should be arranged the abstract comprising 100 – 500 characters, no abbreviations or reference citations. The abstract represents a summary of the paper that refers to the method, the main results and conclusions. The text should be written in TNR, size 11. The sub-title “Abstract” will be with bold.
The Romanian abstract has the same features. A translation of the title in Romanian should be added (bold).
Key words: Five to six keywords should be given below the abstract, the order being English version followed by the Romanian one.
1. Please, follow the headings structure as shown below:
– Primary subtitles (Capital the beginning of the first word, bold and lower case, left)
– Secondary subtitles (Capital the beginning of the first word, italic and lower case, left)
– Other (Capital the beginning of the first word, lower case, left)
2. Italics should be used for terms or abbreviations in other languages “et al.”, “etc.”
3. Weights and measures should observe International System of Units.
4. References citation:
a) References are cited in the text by the last name of the author and the year of publish (Luca, 1998). In the case of a citation of a paragraph, it will be put between quotation marks while the page will be cited (Luca, 1998, 17).
b) For references having two authors, use the names and the year (Luca, Gudea, 2010, 20) and for those with three or more authors, use the last name of first author followed by “et al”. (Luca et al., 2003, 120).
d) References cited should be arranged chronologically; if there are more than one references for one author in the same year, use a, b, c etc. The references to same or different authors should be separated by semicolon: (Lazarovici, 1979, 85; Luca, 1998, 72; Luca, 2001a, 121; Luca, 2001b, 78).
1. The title “References” will be written in TNR, size 11, bold, centered, upper case
2. Include only references cited in the text, figures, captions and tables.
3. Arrange the references alphabetically by first author and then alphabetically by second author. If there are more than one reference to the same author(s), arrange them chronologically. For references with more than two authors, list alphabetically by first author and then chronologically.
4. For the most common cases, follow the examples:
a) Papers in periodical journals as follows:
Bourillon 2002 Florence Bourillon, Les Parisiens et la modernisation de la ville au XIXe siècle. Evaluer, transformer et construire la ville. In: Revue d’histoire du XIXe siècle, 24 (2002).
b) Books as follows:
Burke 2008 Burke, Peter, What is cultural history? Cambridge, Polity Press (2008).
c) Chapters in books:
Stanzel 1999 Stanzel Frank K., “Zur literarische Imagologie. Eine Einführung”. In Ingomar Weiler, Waldermar Zacharasiewicz (eds.) Europäischer Völkerspiegel. Imagologisch-ethographische Studien zu den Völkertafeln des
frühen 18. Jahrhunderts, Universitätverlag C. Winter, Heidelberg (1999), p. 9-39.
d) Proceedings from symposiums and conferences:
Karamberopoulos, Oeconomopolulos 2004 Karamberopoulos, D., Oeconomopolulos Alexandra, Greek medical manuscripts of the period of the 16th middle 19th century. Proceedings of the 39th Congress on the History of Medicine held at Bari (2004).
e) Unpublished thesis or reports:
Roman 1958 Roman Petre, Grupa înmormântărilor cu ocru pe teritoriul RPR, București (1958). Thesis (manuscript).
Diaconescu et al. 2011 Diaconescu Dragoș, Dumitrescu-Chioar Florian, Natea Gheorghe, Șura Mică, com. Șura Mică, jud. Sibiu. In CCA 2011 (campania 2010) (in press).
List of illustrations
A list of illustrations (numbered consecutively) should be arranged on a different page after the list of references. The legend should be added to the illustration number. The illustration list is to be translated in Romanian (Romanian translation will be provided by the Museum staff if authors have no means under this respect).
1. Inside the text, each illustration (maps, graphs, photographs) should correspond to the number of the illustration list.
2. The legend should be TNR 11.
3. The legend should comprise reference to first author name and year of publishing if required.
4. Maps must indicate the North, have at least two coordinate data on each axis, and have a graphic scale. Localities mentioned in text, should be marked on maps.
5. Good quality jpeg or tiff format (300 dpi), clear black and white contrast photographs are acceptable. If colour, please note that the decision of black and white or colour publishing will be communicated to you afterwards by the editors.
6. References to illustrations in the text should appear as “Figure 1”.
1. Tables should be arranged on a different page, numbered consecutively.
2. References to tables in text should appear as Table 1.
Brukenthalia is a supplement of Brukenthal. Acta Musei, enjoying the same scientific status (CNCS B). The Brukenthal. Acta Musei academic journal is included in several international databases:
2009 INDEX COPERNICUS http://journals.indexcopernicus.com/Brukenthal.+Acta+Musei,p9181,3.html;
2010 EBSCOHOST https://www.ebscohost.com/titleLists/tnh-coverage.htm;
2015 ERIH PLUS https://dbh.nsd.uib.no/publiseringskanaler/erihplus/periodical/info?id=484924