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Jeffrey Luppes, Klaus Berghahn, Meredith Heiser-Duron, Sara Jones, and Marcus Colla

eastern Germans (131). Chapter 5 considers these issues from a different angle, that of moral responsibility and agency. If, Espindola asks, we are to respect im as fully fledged agents then must we not hold them accountable for their actions? If so

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A Transtextual Hermeneutic Journey

Horst Rosenthal's Mickey au camp de Gurs (1942)

Yaakova Sacerdoti

is aware of his audience. He does not tell his story in a vacuum or keep it inside himself. Because his role is to serve as a satirical narrator and he sees himself as having public moral responsibility, he is duty-bound to convey the story to his

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The End of the European Honeymoon?

Refugees, Resentment and the Clash of Solidarities

Siobhan Kattago

Merkel, with her decision that Germany will grant asylum to those who seek it. Up until the 2016 agreement between the EU and Turkey, Merkel has emphasised moral responsibility over indifference, hospitality over hostility, with her steadfast resolve that

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Finding a Place to Sit

How Qatari Women Combine Cultural and Kinship Capital in the Home Majlis

Rehenuma Asmi

use the cultural capital gained in schools along with the kinship capital gained in the family majlis and kinship network. By doing so, they construct new norms around gender that emphasize women’s education as well as their social and moral

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Repatriation as Inspiration

Multigenerational Perspectives on American Archaeology-Museum Relationships

April M. Beisaw and Penelope H. Duus

Practices and New Approaches ( Tythacott and Arvanitis 2014 ) address the moral responsibility of museums with an international set of case studies. The repatriation literature is ripe with case studies, but there is room for more generalized dialogue about

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Wyatt Moss-Wellington

such responsibilities, maybe the way a film asks us to experience and resolve cognitive dissonance is a good place to start looking. A recalibration toward moral responsibility in film theory need not entail advocacy of any formal policing of morality

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Conjunctures and Convergences

Remaking the World Cultures Displays at the National Museum of Scotland

Henrietta Lidchi

Scotland through its various incarnations. I consider three moments when the museum’s function was discussed in relation to changing definitions about universalism. At issue are propositions as to the moral responsibilities of museums in terms of fostering

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Ted Nannicelli

starting point for constructing an analogous “structure of antipathy.” Our issue is rounded out with four reviews of important and exciting new books, but Kjeldgaard-Christiansen's discussion of the cinematic construction of moral agency and moral

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A Structure of Antipathy

Constructing the Villain in Narrative Film

Jens Kjeldgaard-Christiansen

leaving Carla Jean's fate up to an indifferent coin. Carla Jean, however, refuses to call it. She insists on the killer's prerogative to spare her and therefore also on his moral responsibility: “The coin don't have no say. It's just you.” From the social

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Johannes Görbert, Russ Pottle, Jeff Morrison, Pramod K. Nayar, Dirk Göttsche, Lacy Marschalk, Dorit Müller, Angela Fowler, Rebecca Mills, and Kevin Mitchell Mercer

thereby aligns black travel with social respectability and moral responsibility. Oscillating (Totten’s term) between conservative and progressive ideas, Fauset retains a “touristic interest” (102) in international cultures. The final chapter deals with