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J. Brandon Colvin

People are bad at recognizing liars. Data culled from several psychological experiments demonstrates that even the most well trained individuals – government agents, police officers, and so on – can barely succeed at a 50 percent rate. Lying and deception, however, are fundamental narrative elements in several film genres – particularly the detective film and the female gothic, genres that peaked in popularity in 1940s Hollywood. Considering their real-life lack of proficiency, how do viewers successfully spot deception in such films? Drawing on findings from a handful of experiments, this article brings cognitive psychological concepts to bear on two 1940s films: Out of the Past (1947) and Secret Beyond the Door (1948). The article claims that filmmakers, particularly actors, exaggerate, simplify, and emphasize deception cues to selectively achieve narrative clarification or revelation. This process reveals not only how viewers recognize deception, but how actors stylize real-life behavior in service of narrative and aesthetic priorities.

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Intimidation, reassurance, and invisibility

Israeli security agents in the Old City of Jerusalem

Erella Grassiani and Lior Volinz

extensive fieldwork on Israeli security actors, consisting of (participant) observations and interviews. For this article we draw on observations of both authors, while most ethnographic data is provided by the fieldwork of Lior Volinz in the Old City of

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Michael Schuldiner

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

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Daniel Lewis

up directly after lying down, and going out, and coming home tired at sunrise” (1876: 348). Dickens's explorations of sleep, dreaming, and sleep disorders in “Night Walks” illustrate a complicated negotiation between hegemonic ideals 1 of masculinity

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Droits liés à l’eau dans la Camargue insulaire

À la croisée de la gouvernance environnementale et de la gestion des risques

Aurélien Allouche and Laurence Nicolas

*Full article is in French

English abstract: For a long time the area known as the Camargue (France) had conciliated the different rights related to water uses solely by adjusting its hydraulic system. The limits of this system were shown by the floods that occurred in 1993 that forced the governance paradigm to coordinate actors' rights related to water uses in the public space, and, at the same time, to elaborate new ways of acting upon the hydraulic system. This evolution presents nevertheless the risk to prioritize the plurality of rights, to manage the plurality of technical and natural constraints, and to render essential the movement out of public space of the treatment of data and technical constraints entering the adjustment of the system. Recent initiatives within governance attempt, conversely, to dissociate the space for the expression of rights linked to water from that for actions. By doing so, this inflection allows for profit-sharing and mobilization in the part of the system which other forms of participation had difficulty implicating. However, other problems arise, such as the intersection between the public and the private spheres or plurality between levels of management.

Spanish abstract: Durante mucho tiempo, la Camarga (Francia) ha conciliado los derechos relativos a los usos de agua a través de ajustes de su sistema hidráulico. Los límites de este sistema, puestos en evidencia por las inundaciones de 1993, han conducido al paradigma de gestión a manejar simultáneamente en el mismo espacio público la coordinación de derechos relativos a los usos de agua y las acciones sobre el sistema técnico. Sin embargo, esta evolución corre el riesgo de producir una jerarquía entre los derechos de los usos de agua para gestionar la diversidad de las limitaciones naturales y técnicas, y de desplazar fuera del espacio público una parte del procesamiento de datos y las limitaciones técnicas utilizadas en el ajuste del sistema. Por el contrario, recientes iniciativas en la gobernanza de este recurso están intentando separar el espacio de expresión de los derechos relacionados con el agua de las acciones. De este modo, este cambio permite generar interés y movilizar a una parte del sistema que las otras modalidades de acción no habían conseguido involucrar hasta ahora. Esta nueva reconfiguración no esta libre de desafíos, tales como aquellos generados por la intersección de la esfera pública y privada, por la pluralidad de niveles de gestión.

French abstract: La Camargue a longtemps concilié les droits liés à l’eau par des ajustements de son système hydraulique. Les limites de celui-ci, éclairées par les inondations de 1993, ont conduit le paradigme gestionnaire à mener dans le même espace public la coordination des droits et les actions à mener sur le système technique. Cette évolution présente cependant le risque de hiérarchiser la pluralité des droits, pour gérer la pluralité des contraintes techniques et naturelles, et de rendre indispensable le déplacement hors espace public d’une partie du traitement des données et des contraintes techniques entrant dans l’ajustement du système. De récentes initiatives au sein de la gouvernance tentent, au contraire, de dissocier l’espace de l’expression des droits liés à l’eau de celui des actions. Ce faisant, cette inflexion permet l’intéressement et la mobilisation de la partie du système que les autres modes d’action parvenaient mal à impliquer mais d’autres problèmes se posent, tels que l’intersection du public et du privé ou la pluralité des échelles de gestion.

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Lior Levy

The article advances an interpretation of the self as an imaginary object. Focusing on the relationship between selfhood and memory in Sartre's The Transcendence of the Ego, I argue that Sartre offers useful resources for thinking about the self in terms of narratives. Against interpretations that hold that the ego misrepresents consciousness or distorts it, I argue that the constitution of the ego marks a radical transformation of the conscious field. To prove this point, I turn to the role of reflection and memory in the creation of the self. Reflection and memory weave past, present and future into a consistent and meaningful life story. This story is no other than the self. I propose to understand the self as a fictional or imaginary entity, albeit one that has real presence in human life.

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Dan Rabinowitz, Russell Stone, Guy Ben-Porat, Paul Scham, Wilhelm Kempf, Lior Libman, and Asaf Sharabi

alienation” (2). Maletz also appears at the end of the book. Praising the new urban kibbutzim for their attempt to build a better communal life while referring to Maletz’s novel, Omer-Sherman concludes, “Therein lies not merely nostalgic consolation … but

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Jon Harald Sande Lie

Through its post-structural critique of development, post-development provides a fundamental dismissal of institutional development. Drawing on the work of Foucault, post-development portrays development as a monolithic and hegemonic discourse that constructs rather than solves the problems it purports to address. Yet post-development itself becomes guilty of creating an analysis that loses sight of individuals and agency, being fundamental to its development critique. This article discusses the discourse-agency nexus in light of the post-development context with specific reference to the grand structure-actor conundrum of social theory, and asks whether an actor perspective is compatible with discourse analysis and what—if anything—should be given primacy. It aims to provide insight into social theory and post-development comparatively and, furthermore, to put these in context, with Foucault's work being pivotal to the seminal post-development approach.

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'The Lying Art'

Peter Porter's Modest Proposals

Adrian Caesar

I should begin with an apologia for my title. An interesting, entertaining and useful paper might be written about the satirical, Swiftian aspect of Peter Porter's poems. This isn't it. Nor am I concerned here with the imaginative and intellectual brilliance of so many Porter titles, though this too would make a fascinating subject. Rather my interest is in the idea of 'modesty' in relation to art and artists as it is articulated in Peter's work.

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Counting Up the Lies

A Self-Reflexive Investigation of Craft and Fictionalization in a Modern Travel Book

Tim Hannigan

Travel writers seldom reveal the degree to which they deploy fictional elements in their notionally nonfictional books, nor do they discuss the precise motivations for and mechanics of fictionalization and fabrication in travel writing. In this article a travel-writing practitioner turned travel-writing scholar analyzes his own work: the thirteen-year-old manuscript of The Ghost Islands, an unpublished travel book about Indonesia. This analysis reveals various patterns of fabrication across what was presented as and intended to be a “true account,” including the craft-driven fabrications necessitated by reordering and amalgamating events, the omissions generated by attempts to overcome belatedness and to express antitouristic sentiments, the fictional elements introduced through the handling of dialogue and translation, and the self-fictionalization impelled by awareness of genre conventions. The article highlights the significance of writerly craft as a key—and largely overlooked—variable in the scholarly analysis of travel-writing texts.