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turned travel-writing scholar analyzes his own work: the thirteen-year-old manuscript of The Ghost Islands, an unpublished travel book about Indonesia.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.
A Self-Reflexive Investigation of Craft and Fictionalization in a Modern Travel Book
Ethnography between the Virtue of Patience and the Anxiety of Belatedness Once Coevalness Is Embraced
In view of this issue's focus on time and temporalities, I want to discuss a distinctive problem concerning the ethnographic representation of fieldwork experiences. Faced with increased time pressure to complete degree work and the present trend that emphasizes efficiency in graduate training, scholars are finding traditional ideals of temporality in research to be challenged as a professional standard of ethnography at the outset of their careers. To me, this compelling development in the current evolution of social and cultural anthropology needs detailed discussion in reassessing the norms of the long-established ethos of anthropological research.
The present edition of European Comic Art is our somewhat belated tribute to the eightieth anniversary of Hergé’s Adventures of Tintin. Hergé’s roaming reporter first appeared in the Brussels-based children’s magazine Le Petit Vingtième on 10 January 1929, but he still bestrides the world of Francophone comics like a colossus in plus fours. The 24 Tintin albums, which appeared from 1929 to 1986, have sold millions of copies. Without The Adventures of Tintin the bande dessinée would not exist as we know it and neither, very probably, would European Comic Art.
This chapter looks at the most important actors engaged in social and political conflict in Italy during 2012, linking conflicts to policy arenas and the change in policy style of the government. The study is based mostly on a qualitative analysis of the most important national newspapers. The actors examined are the mobilization of students, the trade union movement, the “No TAV” movement (against high-speed trains in northwestern Italy), and the Five Star Movement, all active against the anti-austerity measures of the technical government. Social reaction against so-called neo-liberal policies in Italy has been belated and fragmented when compared with other European countries. In the final section we discuss the explanations for the particular characteristics of the Italian protest movements during 2012.
Human Rights, Transitional Justice, and Memories of Resistance in Post-Conflict Timor-Leste
This article examines the effects of human rights and transitional justice on memories of Timor-Leste’s resistance to the Indonesian occupation, which lasted from 1975 to 1999. Data comes from ethnographic fieldwork in Timor, centered around remembrance of two major acts of resistance: an armed uprising in 1983 and a peaceful demonstration in 1991. The article argues that in Timor, an “apolitical” human rights has caused a post-conflict “democratization of perpetration”, in that similar culpability is assigned to all those who caused suffering in the conflict with Indonesia through physical violence, irrespective of context. Transitional justice has thus expanded the category of perpetrator in Timor, to include some who legally used armed resistance against Indonesian rule. Studies of violence have belatedly turned toward examining perpetrators of state terror; this article examines how discourses of human rights and transitional justice shape perceptions of those who resist state terror with violence.
This article examines representations of traumatic memory within the context of psychological and poetic domains by analyzing two films: Waltz with Bashir by Ari Folman (2008) and Cache (Hidden) by Michael Heneke (2005). These two films are coping with two events: the Sabra and Shatila's massacre that took place in Lebanon in 1982, and the 1961 massacre of Algerian demonstrators in Paris. In both events the films depict the intersection between private and collective traumatic memory. Analyzing the texts focuses especially on the arousing stage of the trauma from a long period of belatedness and is used as a model for questions referring to the act of translating the trauma concept from discourse of psychology to the poetic language of film.
This article examines how colonial reckoning is belatedly becoming part of the German memory landscape thirty years after reunification. It argues that colonial-era questions are acquiring the status of a new phase of coming-to-terms with the past in Germany alongside—and sometimes in tension with—the memory of the National Socialist and East German pasts. This raises new and difficult questions about what it means for the state and citizens to act responsibly in the face of historical wrongs and their lasting consequences. Given deep disagreements over what responsibility for the past means in practice, these questions also raise the stakes for the future of Germany’s global reputation as a normative model for democratic confrontations with difficult pasts. It provides an overview of the circumstances after reunification in which colonial memory issues came to the fore, and analyzes a 2019 Bundestag debate on colonial heritage as an example of how the main contours of colonial memory are being configured within the context of contemporary politics.
While still vastly underrepresented and lagging behind political representation in several other European democracies, more ethnic minorities and immigrants have entered the German Bundestag in 2013 than ever before. This is one of several indicators of Germany's political departure from hegemonic ethnic self-understandings, signaling the nation's complicated, partly still-contested evolution towards political self-conceptions as a “country of immigration.” A significant unanswered question is how and how far this process, which can be conceived as cosmopolitanization, has transformed party politics. This article examines the scope and causes of cosmopolitanization in three dimensions of German party politics after the 2013 Bundestag election: political discourse and programmatic positions on immigration, citizenship, identity, and ethno-cultural diversity; the policy regime of mainstream parties on immigration and the inclusion of ethnic minorities; and the fielding of minority candidates for national public office. It is argued that a belated postethnic cosmopolitanization of German party politics is primarily caused by transformed demographic realities, value change, and new electoral demands. Mainstream political parties—including the center right—have been reluctant but ultimately rational strategic agents reacting to these transformations in the electoral market. Yet, the scope and character of cosmopolitanization also depends on external and internal supply side conditions that enable parties to make programmatic changes, depolarize key issues of the immigration and citizenship policy regime, and recruit ethnic minorities for political representation. In European comparative perspective, the German case may serve as a model for theorizing the cosmopolitanization of party politics.
Female AutobioBD and Julie Doucet's Changements d'adresses
In comparison to the U.S. market, the trend for autobiographical sequential art arrived late within the history of the francophone bande dessinée. Its rising popularity throughout the 1990s and into the new millennium coincided, and to an extent connected, with another belated development in the French-language industry however: that of the growing presence of the female artist. This article considers the strong presence of life narratives in bandes dessinées created by women, before presenting a case-study examining the manipulation of the medium to an autobiographical end in Québécoise artist Julie Doucet's 1998 Changements d'adresses ['Changes of Addresses']. It considers how, in this coming-of-age narrative set first in Montreal and then New York, Doucet utilises the formal specificity of the bande dessinée to emphasise both the fragmentation and then reintegration of her hybrid enunciating instances. It further examines Doucet's usage of the life-narrative bande dessinée to oppose her representation from that of the disruptive male figures in her life, whose sexual presence in her personal evolution is often connected to images of dysfunction and death, finally suggesting via this examination of Julie Doucet and Changements d'adresses the particular suitability of female-created life narratives to feminist reappropriations of the francophone bande dessinée.
’ reflex to cover it up, reflects in a belated yet amplified way the history of anthropology itself. The big themes of Western history and those of the humanities converge in this book to become experientially salient for the reader thanks to the main