Museums can be theorized as sites of forgetting. Furthermore, British traders who collected carved tusks made by Kongo-speaking peoples of the Central African coast in the nineteenth century appear to have had no interest in accounting for the complex narrative scenes that embellished these works. Recent scholarship advocates applying an “archaeological sensibility” (Harrison 2013) that conceptualizes museum collections as “assemblages” in order to reveal new knowledge about collections. This article employs a version of this approach by applying an ichnography, or “science of traces” (Byrne 2013), to the visual narratives carved on tusks in the World Museum Liverpool collection and to the textual narratives of British traders’ from the period, to reveal discrepant and elided themes in these sources. The insights generated by probing the significance of these narrative disjunctions helps provide a “thicker” understanding of the dynamic, cosmopolitan “zone” of cross-cultural interaction from which the tusks were acquired.
Trade, Collecting, and Forgetting in the Kongo Coast Friction Zone during the Late Nineteenth Century
Repatriation Narratives and Ritual Performances
Stein R. Mathisen
Introduction: History, Ethnic Conflicts, the Dead, and Their Remains The historical backdrop for the events, narratives, and ritual ceremonies discussed in this article is the Kautokeino rebellion of 1852, leading to the death sentence and
appealing claim that the “vast majority” of narrative films present their stories by raising and then answering questions about their story world (2008a, 133). According to this theory, the opening scene of Citizen Kane (Orson Welles, 1941), for instance
Narratives of Trauma of Iraqi Asylum Seekers and Refugees in Jordan
The occupation of Iraq and the ensuing sectarian violence have created an Iraqi refugee community, estimated at 700,000 to 1 million, which Jordan has hosted for several years. Residing for the most part in Amman's low-rent neighbourhoods, many Iraqis have overstayed their visas and live in fear of deportation. Marginalised both economically and socially, and forgotten by the U.S. and the international community, poverty-stricken Iraqi refugees and asylum seekers suffer not only from the traumatic experience of sectarian persecution and their escape from Iraq, but also from the stress and fatigue of their long-lasting transit to nowhere. Their narratives show a profound distress and a struggle for survival that is both psychological and economical, since their (il)legal status as 'guests' denies them the possibility of obtaining work permits.
Heritage Narratives of Russian Old Believers in Romania
memory central for the heritage narratives of Old Believers in Romania today that will be discussed in this essay. It is this relationship with a mythical past and the various forms in which it is embodied in current heritage practices that is of concern
Héctor J. Pérez
My aim in this article is to contribute to the existing literature on the plot twist in screen fictions. The plot twist is a narrative device designed to turn the reception of a narration into an experience dominated by surprise, influencing how
Robyn Singleton, Jacqueline Carter, Tatianna Alencar, Alicia Piñeirúa-Menéndez, and Kate Winskell
constructed in the collective lay imagination has the potential to inform health outcomes at the individual and population levels and is crucial to understanding and influencing processes of sociocultural change. Narratives are a particularly valuable, yet
his trip with Sebastia Junyer to Paris in which narrative was provided. 4 However, Picasso’s most important foray into the world of the comic strip was no doubt his 1937 etching and aquatint, The Dream and Lie of Franco [ Sueño y mentira de Franco
This article is based on the findings of an empirical study that is being conducted in Austria, Poland, and Germany. The material consists of a total of sixty group discussions with families, people of different age groups, as well as individuals dealing professionally with history and memory, including historians, teachers, politicians, journalists, displaced persons, and Jewish communities. Even if there are differences within every country, one clearly can observe dominant country-specific ways of speaking about the past. The German discourse could be described as a meta-narrative. Germans do not speak mainly about the past itself, but rather about how it should or should not be represented. The narrations are highly skeptical and unheroic. By contrast, the Polish discourse is almost devoid of skeptical narratives. Notions such as “historical truth,” “national pride” and “national history” were dominant in the discussions. The article concludes by noting that even though the modes of narrating the past are different in Germany and Poland, its function remains untouched: the past is always a resource for the construction of coherence and meaning.
Toward a Cultural History of the Global Infrastructures
This article focuses on the process of the design of airports and how in particular the urban context has shaped their specific histories. Far from being merely pure technical or functional equipment, they have been mirrors for contemporary expectations, just as they informed the modern urban imaginary. According to this perspective, an urban history of airports can be traced from the first aerodromes dedicated to large urban publics to the development of spectacular airports driven by the massive recent routinization of air transport so intricately bound up with globalization. Based on research on specific cases of the design and building of New York and Paris airports, this article aims to resist the temptations to dehistoricize the airport topic, and to introduce a narrative mode of thinking about these specific and concrete spaces.