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Poetic Imagination

Love and Longing among Syrian Men in Exile in Amman

Emilie Lund Mortensen

technology of imagination ( Sneath et al. 2009 ), understood as the social and material means by which particular imaginings are generated, which opens for a creative space in which it is possible to imagine the otherwise unimaginable, such as a different

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The Stuff of Imagination

What We Can Learn from Fijian Children's Ideas About Their Lives as Adults

Christina Toren

Through an analysis of Fijian children's essays about the future, this article explores ideas of sociality, personhood, and the self that are the very stuff of intersubjectivity and thus of the imagination, as this gives rise to the lived social reality that is manifested in people's ideas and practices. The material presented here bears on a single aspect of data derived from 75 essays by Fijian village children aged between 7 and 15 years old, that is, their constitution over time of a spatiotemporal orientation toward a view of generations to come. I use this example of spatiotemporal orientation to show how, seen through the perspective derived from long-term participant observer fieldwork, data such as these enable an ethnographic analysis of meaning-making as a transformational, historical process.

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Memory, imagination, and belonging across generations

Perspectives from postsocialist Europe and beyond

Haldis Haukanes and Susanna Trnka

The last two decades have witnessed a phenomenal expansion of scholarly work on collective memory. Simultaneously, increasing anthropological attention is being paid to collective visions of the future, albeit through a range of disparate literatures on topics including development, modernity and risk, the imagination, and, perhaps ironically, nostalgia. In this introduction to this special section, we bring together analyses of postsocialist visions of pasts and futures to shed light upon the cultural scripts and social processes through which different temporal visions are ascribed collective meaning, employed in the creation of shared and personal identities, and used to galvanize social and political action.

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The Feel of the Past

Sartre on Memory and Imagination

Kathleen Lennon

distinction which Sartre draws between memory and imagination. The article is in two parts. In the first part, I want to suggest that, in common with the distinction he draws between imagining and perceiving, the separation of memory and imagination is

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“Mind the Gap”

Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film

Jane Stadler

the representation and expression of emotion in film. My particular interest is in the account Smith advances of the nature of emotion and its role in relation to empathy and imagination in the film experience. As Smith contends, quantitative empirical

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Lives and deaths of the imagination in war's shadow

Wendy James

There is plenty for anthropologists to explore in the vicinity of war, without actually doing ‘fieldwork under fire’ on the battlefield. This article, based on a presentation in 2010 at the EASA conference in Maynooth, reviews some recent studies of the longer‐term consequences of frontier insecurity and warfare for local populations. It focuses on work by Heonik Kwon in Vietnam, Mukulika Banerjee on the Pakistan–Afghan border, and Richard Vokes on Uganda. All these reflect on war as it is understood from afar, and the ways that resistance and response may take imaginative forms, including new kinds of violence, among affected communities.

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Elemental Imagination and Film Experience

Climate Change and the Cinematic Ethics of Immersive Filmworlds

Ludo de Roo

form of imagination that is rooted in our elemental being-in-the-world. As such, this cinematic form of “elemental imagination,” as I will call it, has the potential to enrich the field of cinematic ethics. 1 In other words, elemental imagination is

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Sartre on Mental Imagery

Noel N. Sauer

“Image in the mind” is only a round-about way of saying “imagination.” But to infer from this that there is really an image in the mind … is to be misled by an analogical expression. — Thomas Reid 1 Sartre’s theory of mental imagery has long been

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Girlhood as Storytelling and (Anti-)creation in Dodie Smith's I Capture the Castle

Anna Szirák

adolescent Cassandra Mortmain's diary narration as the ultimate creational power of girlhood, in which storytelling and imagination mark her young self as narrator of both herself and of those around her. Cassandra, in her struggles for an authoritative

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Exploring Humanistic Layers of Urban Travel

Representation, Imagination, and Speculation

Jooyoung Kim, Taehee Kim, Jinhyoung Lee, and Inseop Shin

production. By humanistic production, we are referring to the potentials of representation, imagination, and speculation that surround these mobile activities. Namely, representation can produce specific cultural-political meaning about physical movement as a