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Sanne van der Hout and Martin Drenthen

of different narrative structures, metaphors, and images. With these narrative self-presentations, they seek to express in what ways the new approach to technology can be distinguished from the old, as well as to legitimize their research activities

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Subtracting the Narrative

Trade, Collecting, and Forgetting in the Kongo Coast Friction Zone during the Late Nineteenth Century

Zachary Kingdon

Museums can be theorized as sites of forgetting. Furthermore, British traders who collected carved tusks made by Kongo-speaking peoples of the Central African coast in the nineteenth century appear to have had no interest in accounting for the complex narrative scenes that embellished these works. Recent scholarship advocates applying an “archaeological sensibility” (Harrison 2013) that conceptualizes museum collections as “assemblages” in order to reveal new knowledge about collections. This article employs a version of this approach by applying an ichnography, or “science of traces” (Byrne 2013), to the visual narratives carved on tusks in the World Museum Liverpool collection and to the textual narratives of British traders’ from the period, to reveal discrepant and elided themes in these sources. The insights generated by probing the significance of these narrative disjunctions helps provide a “thicker” understanding of the dynamic, cosmopolitan “zone” of cross-cultural interaction from which the tusks were acquired.

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Marc Kropman, Carla van Boxtel and Jannet van Drie

School history textbooks provide an important source of information for learners of history. Textbook narratives of a nation’s past often present a limited frame of reference, which impedes the aim of teaching history from multiple perspectives. This article examines the representation of the Dutch Revolt in two Dutch and two Flemish history textbooks. By taking sentences as our unit of analysis, we analyzed narrative elements and metaphors, which informed us about the level of multiperspectivity in these narratives. We found that Dutch textbooks, in contrast to Flemish textbooks, create their emplotment of the narrative of the Dutch Revolt by focusing on the first ten years of the conflict and mostly lack multiperspectivity. We hope that the insights generated by this analysis may inform textbook authors who seek to do justice to multiple perspectives.

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The Three Burials of Aslak Hætta and Mons Somby

Repatriation Narratives and Ritual Performances

Stein R. Mathisen

Introduction: History, Ethnic Conflicts, the Dead, and Their Remains The historical backdrop for the events, narratives, and ritual ceremonies discussed in this article is the Kautokeino rebellion of 1852, leading to the death sentence and

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Narratives of Development

An Anthropological Investigation into Narratives as a Source of Enquiry in Development Planning

Taapsi Ramchandani

’s success story so far. My findings would inform project plans going forward. I chose to include local narratives in my final report in order to present a holistic picture of how people understood economic development, to whom or to what they attributed the

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Narratives of Ambivalence

The Ethics of Vulnerability and Agency in Research with Girls in the Sex Trade

Alexandra Ricard-Guay and Myriam Denov

. While it is important to acknowledge the abuses committed against minors in the sex trade, this one-dimensional narrative may come into opposition with how the girls themselves perceive their experiences, and may actually hinder an understanding of the

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Narratives of the Invisible

Autobiography, Kinship, and Alterity in Native Amazonia

Vanessa Elisa Grotti and Marc Brightman

societies outside Amazonia ( Chaumeil 1983 ; Eliade 1964 ; Harner 1973) . In native Amazonia, a genre of ritual autobiography exists that combines mythic narratives and stories of personal experience in performances of dreams and visions, and the analysis

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Leslie Paul Thiele and Marshall Young

mature individual, mythology and fairy tales are supposed to give way to rational analysis. Within academia this evaluation is common. Natural and social scientists typically disparage ‘anecdotal evidence’. Narratives are seen as optional supplements at

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Jonathan Frome

appealing claim that the “vast majority” of narrative films present their stories by raising and then answering questions about their story world (2008a, 133). According to this theory, the opening scene of Citizen Kane (Orson Welles, 1941), for instance

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Héctor J. Pérez

My aim in this article is to contribute to the existing literature on the plot twist in screen fictions. The plot twist is a narrative device designed to turn the reception of a narration into an experience dominated by surprise, influencing how the