’s success story so far. My findings would inform project plans going forward. I chose to include local narratives in my final report in order to present a holistic picture of how people understood economic development, to whom or to what they attributed the
An Anthropological Investigation into Narratives as a Source of Enquiry in Development Planning
The Ethics of Vulnerability and Agency in Research with Girls in the Sex Trade
Alexandra Ricard-Guay and Myriam Denov
. While it is important to acknowledge the abuses committed against minors in the sex trade, this one-dimensional narrative may come into opposition with how the girls themselves perceive their experiences, and may actually hinder an understanding of the
Autobiography, Kinship, and Alterity in Native Amazonia
Vanessa Elisa Grotti and Marc Brightman
societies outside Amazonia ( Chaumeil 1983 ; Eliade 1964 ; Harner 1973) . In native Amazonia, a genre of ritual autobiography exists that combines mythic narratives and stories of personal experience in performances of dreams and visions, and the analysis
Habermas and Contemporary Realist Thought
and subvert his narrative of steady democratisation. Habermas and Realism The contours of political realism today are contested, and in certain respects indeterminate. Some common features nonetheless can be identified and be seen to overlap with
Western rescue narrative in which a white mutant, Wolverine, saves her ( Dar 2008 ). In contrast to Dust, Kamala Khan is a fashionable 16-year-old Pakistani-American girl who combats crime, racism, and Islamophobia in Jersey City, New Jersey. Deploying her
Contested Narratives of Storied Places—the Holy Lands
The articles in this special section on pilgrimage and the Holy Lands provide a wide range of perspectives on the practice, representation, and production of sacred space as expressions of knowledge and power. The experience of space of the pilgrim and the politically committed tourist is characterized by distance, impermanence, desire, contestation, and the entwinement of the material and the spiritual. The wealth of historical Christian and Western narratives/images of the Holy Land, the short duration of pilgrimage, the encounter with otherness, the entextualization of sites, and the semiotic nature of tourism all open a gap between the perceptions of pilgrims and those of 'natives'. Although the intertwining of symbolic condensation, legitimation, and power makes these Holy Land sites extremely volatile, many pilgrimages sidestep confrontation with the Israeli-Palestinian conflict as inimical to the spirit of pilgrimage. A comparative view of the practices of contemporary Holy Land pilgrims demonstrates how communitas and conflict, openness and isolation are constantly being negotiated.
An International Symposium, 19–20 April 2014, Istanbul
Francisca de Haan
The Istanbul Women’s Library and Information Center Foundation, on occasion of its twenty-fourth anniversary, together with Yeditepe University organized the international symposium “Writing Women’s Lives: Auto/Biography, Life Narratives, Myths and Historiography,” which took place at Yeditepe University on 19–20 April 2014.
The symposium coordinators were Birsen Talay Keşoğlu, Vehbi Baysan, and Şefik Peksevgen, assisted by eleven more members of the Organizing Committee, including Aslı Davaz, director of the Istanbul Women’s Library.
Rafael Guendelman Hales
“Objects Removed for Study” is a creative remaking of a fraction of the Library of Ashurbanipal (part of the Assyrian collection of the British Museum) by a group of women from the Iraqi Community Association in London. Inspired by the main role of the library as a guide for the Assyrian king Ashurbanipal, and considering the current situation in Iraq, the women were invited to rewrite and re-create a series of ceramic books and artifacts. This project aims to critically rethink both the identity and the role of these old artifacts in the articulation of new sensitivities and possibilities in today's context of displacement.
Joanne Sayner, Isabelle Hertner, and Sarah Colvin
Anniversaries provide moments for taking stock. In the wake of the so-called Supergedenkjahr of 2014—the year of numerous significant commemorative events for Germany, including the fall of the Berlin Wall and of German unification—it seems particularly timely to engage with debates about what it means to be German. Such retrospection is now an established and widespread part of the German habitus, and the number of organized moments of contemplation—moments that say as much about the present as the past—has multiplied since unification. Within Germany and beyond, the question of what it means to be German is frequently being asked by those who want to define local, national and international agendas for the future and to redefine agendas of the past. Representing an individual, a community or a nation involves the construction of narratives and identities, a process now often informed by sophisticated understandings of image and audience, of beliefs and branding. In fact, the numerous facets that make up an image of “Germany” have, for the most part, been perceived affirmatively; in recent international polls Germany has been the country seen as most likely to have an overwhelmingly positive influence on the world.
This article discusses the ways sound design in film guides the emotional affect of both sound and pictures on the viewer. Following the theory of conceptual metaphors, the article proposes an approach to "audiovisual metaphors," analyzing emotional and embodied aspects of film sound. It states that pictures and sound have to share emotional and physical characteristics that can be merged by sound designers conceptually and metaphorically in order to improve the emotional and physical affects of a fictional character or object in a film. Thus it argues that the synchresis (audiovisual fusing) of pictures and sound is most effective when embodied image schemata are used by sound design that guide, on an unconscious level, our perception of film. In audiovisual metaphors, image schemata as "force" or "balance" are projected on sound and pictures that create an audiovisual and emotional gestalt of the objects. Using examples from Stanley Kubrick's The Shining and Francis Ford Coppola's Rumble Fish, the article shows how the emotional attributes of fictional character, spaces, and objects can be conceptualized metaphorically, via their very materiality, by sound design—attributes that are perceived prominently on a presymbolic and preconscious level by the viewers but that communicate complex cultural and narrative meanings.