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Paper short abstract

My paper presents a micro-history of the reception of an innovative verse-image synergy from the Yuan dynasty in China by the Ilkhanid court in Tabriz in illuminating the Shah Nama and Iskandernama and in a new multi-media retelling of the Alexander Romance for an Armenian aristocratic audience.

Paper long abstract

Since its inception in the 2nd century BCE the Silk Road functioned as an important means of exchange across the northern hemisphere not only of mercantile commodities but also cultural products and intellectual concepts, attaining its apogee during the Mongol Empire (13th-14th cc.).

Within this context, my comparative, interdisciplinary approach, theoretically informed by insights from World History, seeks to present a micro-history positing the novel Chinese synergy under the Yuan dynasty of painting, poetry, and calligraphy, inscribing images with accompanying verse surrounded by a broad frame, as a model for inaugurating the illumination of the Shah Nama and Iskandernama romances at the Ilkhanid Mongol court in Tabriz, and the creation of a radically new retelling of the Alexander Romance for a contemporary Armenian aristocratic audience. These romances embellish the narrative with an unprecedented iconographic program which later becomes standard.

My further contention is that the Armenian tradition involved the further dimension of melody, as indicated in manuscript marginalia, permitting us to imaginatively recreate a performance environment in which a select group of nobility would be beguiled by the miniatures, many full-page, somewhat reminiscent of the modern graphic novel, that afforded an epitome of the much more prolix prose original, while being regaled by a bardic rendition of the verse commentary on the images, revivifying the ancient tale of the cosmocrator of Macedon, while inspiring them with lessons on statecraft, strategy, and social philosophy, carefully calibrated to the ethos of their age.

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Paper short abstract

I am to analyse whether historic sites and monuments can be used as instruments to build Soviet and Russian colonial narratives. The following areas will be analysed: Buromsky cemetery (Mirny station), Lenin bust at the Pole of Inaccessibility. Soviet snow tractors, a drilling complex building.

Paper long abstract

Unlike on other continents, human presence in Antarctica has a short history and its the material culture reflects a 200-year history of human presence and human activities in a place with no Indigenous population.

In order to protect against the degradation of the artefacts and objects of significant historical importance, contributing to better understanding the process of exploration of Antarctica, a useful instrument was created- a list of historic sites and monuments (HSM) WAS created.

Toponomy, political and state symbols, funerary or religious objects, cutting edge technology play a central role in the process of building colonial narratives.

Antarctica is a region of significant geopolitical significance., I am to analyse whether at to what degree, HSMs can be used as instruments to build Soviet and Russian colonial narratives and what are strategies of building such narratives.

For the case study, the HSMs representing Russian and Soviet presence in Antarctica have been chosen.

The HSMs will be examined, their origin, the history of their creation, their primary and actual function, meaning, technical state; state of preservation. The following areas will be analysed:

- Funeral landscape - the Buromsky Cemetery at the Mirny Station

- Historical markers and memory makers: Lenin bust at the Pole of Inaccessibility.

- Technological achievement- two heavy Soviet snow tractors, a drilling complex building.

Based on an analysis of HSMs, one can observe that they are powerful instruments supporting colonial narratives, based on two main pillars: superiority and priority demonstrated on: religious, ideological and technological levels. .