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Performing the Hyphen

Engaging German-Jewishness at the Jewish Museum Berlin

Jackie Feldman and Anja Peleikis

The Jewish Museum Berlin (JMB) is a dynamic, performative space that negotiates between representing the Jew as an integral part of German history and as ultimate Other. While this tension has been documented through the political history of the museum (Lackmann 2000; Pieper 2006; Young 2000), we focus on the dynamics of guided tours and special events. We claim that guiding and festival events at JMB marginalise Holocaust memory and present an image of Jews of the past that promotes a multicultural vision of present-day Germany. In guiding performances, the identity of the guide as German/Jewish/Muslim is part of the guiding performance, even when not made explicit. By comparing tour performances for various publics, and the 'storytelling rights' granted by the group, we witness how visitors' scripts and expectations interact with the museum's mission that it serve as a place of encounter (Ort der Begegnung). As German-Jewish history at JMB serves primarily as a cosmopolitan template for intercultural relations, strongly affiliated local Jews may not feel a need for the museum. Organised groups of Jews from abroad, however, visit it as part of the Holocaust memorial landscape of Berlin, while many local Jews with weaker affiliations to the Jewish community may find it an attractive venue for performing their more fluid Jewish identities – for themselves and for others.

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David Graeber

Terms such as 'fate' and 'luck' are ways of talking about the ambiguities and antinomies of temporal existence that all humans, even social theorists, have to confront in one form or another. Concepts that include mana, śakti, baraka, and orenda might best be considered as grappling with the exact same paradoxes. Nor should we assume that social scientific approaches are necessarily more sophisticated. Current discourse on 'performativity', for instance, seems in certain ways rather crude when compared to the Malagasy concept of hasina (usually translated as 'sacred power'), which takes on the same dilemma—what I call the 'paradox of performativity'—in a far more nuanced way.

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Afterword

Dangerous Mobilities

Mimi Sheller

shamanistic traveler. This brings us, fourth, to the question of performance and performativity. Dangerous mobilities entail various kinds of skilled performances, such as Holly Th orpe’s study of skateboarding in Afghanistan or parkour in Gaza or Maria

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Kathleen Lennon

provides an account from the point of view of the audience, a parallel account could be offered from the point of view of the performer, who – despite her curves – performatively enacts Chevalier through the medium of her body. 4 In his later biographical

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Solveig Roth and Dagny Stuedahl

identities ( Holland et al. 1998 ) to understand young girls’ engagement in learning and their transformations and personal development. Using this concept alongside Judith Butler's (1988) perspectives on performativity, we focus on how girls change

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Digital and Offline

Partial Fields and Knowledge Producers

Narmala Halstead

illuminating knowledge practices that incorporate cutting into the broad sites, while not limiting the field. Relations and Performativity An idea of distinct, if moment to moment, bounded settings of researcher and researched returns to the

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Alena Minchenia

communities to achieve social and political changes. Performativity and the Grand Narrative of Resistance In her book Notes toward a Performative Theory of Assembly , Judith Butler defines protests as materialization of “the people.” In protests, “the

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“I Showed You What I Thought Was Appropriate”

Reflections on Longitudinal Ethnographic Research and the Performativity of Dutch Gang Life

Robert A. Roks

1996; Thrasher [1927] 1964). Furthermore, studies have noted how the activities and interactions of gang members are permeated with performativity and mythmaking practices ( Katz and Jackson-Jacobs 2004; Van Hellemont and Densley 2018 ). This not only

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Performing Identity

Early Seventeenth-Century Travelers to the Ruins of Troy

Vassiliki Markidou

The article focuses on three early-seventeenth-century (English and Scottish) leisure travelers’ accounts of the (alleged) ruins of Homeric Troy, namely those penned by Thomas Coryat, William Lithgow, and George Sandys. It argues that their rumination on the specific remains both shaped and reflected their manifold, fractured, and precarious identities while it also highlighted the complex dialogue taking place in these texts between a ruinous past and a fragmented and malleable present. The essay also examines the three travelers’ broken poetics, interspersed in the aforementioned accounts, and shows that they constitute highly self-aggrandizing narratives through which their authors perform their fragile identities.

Open access

Rebecca M. Schreiber

Tenosique , Tabasco. In Walking the Beast (2014), which they performed on the Suchiate River between Guatemala and Mexico, a group of Central American youth used their bodies to make visible how agreements between the United States and Mexico emphasize