How to write about survival? How to tell survival? By exploring manifold reasons to withhold a story, I shed light on the limits of ethnographic knowledge production and the politics of storytelling that mobilize one story and silence another. Through engaging with the fragmented narrative of a Moroccan survivor of a shipwreck in Spanish waters in 2003, I reconceptualize the movement called “migration as survival” by theorizing it as an ethnographic concept. I explore the different temporalities of survival as living through a life-threatening event and as living on in an unjust world. These interrelated temporalities of survival are embedded in the afterlife of the historical time of al-Andalus and the resurgent fear of the Muslim “Other.” By suggesting an existentially informed political understanding of the survival story, I show how the singularity of the survivor is inscribed in a regime of mobility that constrains people and their stories.
Withheld Stories and the Limits of Ethnographic Knowability
Side Stories from Molenbeek, Brussels
More than a year aft er the Brussels district Molenbeek came to international attention as “ISIS’s European capital,” an unplanned encounter during a visit at my former field site leads to a conversation about the struggles and concerns that people are facing in this much-talked-about place. The discussion on a small restaurant terrace wanders off into disappointments and adjustments during research and life and is marked by a shared feeling of uncertainty that mirrors the atmosphere of a city that has seldom been portrayed beyond ephemeral media descriptions.
Transfer, Transformation, and the Spectatorship of Transgender Mobility in François Ozon’s The New Girlfriend
mode of storytelling was dominant until the end of the twentieth century. 1 In classic American comedies such as Some Like It Hot (dir. Billy Wilder, 1959), Tootsie (dir. Sydney Pollack, 1982), and Mrs. Doubtfire (dir. Chris Columbus, 1993), the
Heidi Morrison, James S. Finley, Daniel Owen Spence, Aaron Hatley, Rachael Squire, Michael Ra-shon Hall, Stéphanie Vincent-Geslin, Sibo Chen, Tawny Andersen and Stéphanie Ponsavady
Jones’s novel Mosquito , respectively. Examining the plays Funnyhouse of a Negro (1964) and The Owl Answers (1965), Cervenak analyzes Kennedy’s aesthetics as “a wandering: a fundamentally nonstraight, twisted, and hard-to-follow storytelling that
Tahmineh Hooshyar Emami
-Glass, which transposes objects and events from the real social and political tableaux of Victorian Britain into a perplexing world of criticism and satire, I made use of critical storytelling in an attempt to understand the logic of the experiences en route
Lessons from Collaborative Research on Sanctuary in the Changing Times of Trump
Sara Vannini, Ricardo Gomez, Megan Carney and Katharyne Mitchell
Development in Southeast Asia .” In Story Circle: Digital Storytelling around the World , ed. J. Hartley and K. McWilliam , 167 – 175 . Sussex, UK : Wiley-Blackwell . Tinti , Peter , and Tuesday Reitano . 2016 . Migrant, Refugee, Smuggler