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Jonathan A. Allan and Cliff Leek

A boy's story is the best that is ever told. —Charles Dickens This special issue of Boyhood Studies takes two terms—boys and storytelling—and positions them alongside one another. In some ways, we take seriously Charles Dickens's oft

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Migration as Survival

Withheld Stories and the Limits of Ethnographic Knowability

Gerhild Perl

; Jackson [2002] 2013a ). By exploring the politics of circulation of a story, in this article I am interested in the intertwined dynamics of survival and storytelling in the context of migration by boat. I will argue that the regime of contemporary

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The “Brick and Mortar” of Mobilization?

Storytelling and Materiality in Anti-Asylum Seeker Center Protests in the Netherlands

Iris Beau Segers

arguing that the current literature does not sufficiently acknowledge the important role of storytelling in mobilization processes ( Tilly 2002 ). As such, this article presents the findings of an interview-based study of anti-AZC mobilization and seeks to

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“Defining Ourselves for Ourselves”

Black Girls Conceptualize Black Girlhood Online

Cierra Kaler-Jones

Black girls have long created their own subversive and creative forms of curriculum and pedagogy. I explore adolescent Black girls’ suggestions for teaching and learning about Black girlhood online based on a virtual summer arts program called Black Girls S.O.A.R. Through performance ethnography, we contended with our conceptualizations of Black girlhood and identity sense-making. The co-researchers suggested that storytelling, learner-centered pedagogy, and intentional community-building must be central in virtual pedagogy and saw reclaiming girlhood and self-care as two essential topics for teaching Black girlhood content. I also reflect on the tensions and possibilities of co-constructing participatory learning environments with Black girls, particularly as it relates to disrupting power and adultism.

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Patrick Keating

value of a good film that is not a time-tested classic. Hollywood Aesthetic offers two distinct theories of why spectators enjoy narrative films. The first theory appears in Chapter 3, “Hollywood Storytelling.” The second appears in Chapter 7

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Making Sense of the Remote Areas

Films and Stories from a Tundra Village

Petia Mankova

last section, I present the stories before ending with a discussion of the politics of storytelling and affect. Remoteness, Films, and Sentimental Pessimism The village is often defined in the media as otdalenka , a diminutive of “remote area,” and can

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Howard Cooper

, hence not being an accomplice to the things taking place in front of his very door. —Primo Levi, Afterword to If This Is A Man & The Truce Prologue: Anonymity and Storytelling We don't know who wrote the Book of Jonah. Like all the books of

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Topographies of the Possible

Creating Situations and Spaces of a City's Counter-narrative

Laila Huber

This article explores the creation of new structures of participation and counter imaginaries within the city between the poles of arts and politics. On the basis of two case studies, one situated in the non-institutionalised artistic field and one in the non-institutionalised political field, I will explore narratives of a 'topography of the possible' in the city of Salzburg. Aiming to outline collage pieces of a topography of the possible and of counter-narrative in and of the city – the city is looked at in terms of collage, understood as overlapping layers of the three spatial dimensions materiality (physical space), sociability (social space) and the imaginary (symbolic space). These are understood as differing but interrelated spatial dimensions, each one unfolding forms of collective appropriation of a city. The focus lies on the creation of social relations and collective imaginaries on the micro-level of cultural and political self-organised initiatives, looked at under terms of narration and storytelling. My ethnographic project asks for the creative potentiality of a city and for the creative power of social relations and collective imaginaries.

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The Life of the Death of 'The Fighting Fairy Woman of Bodmin'

Storytelling around the Museum of Witchcraft

Helen Cornish

The skeleton of Joan Wytte, or the Fighting Fairy Woman of Bodmin, was displayed in the Museum of Witchcraft in Cornwall in the UK for several decades until her eventual burial in nearby woodland in the autumn of 1999. Her story has been deployed as a critical historical source and a demonstrable link between Cornwall and magical histories. It is well established that the past is recorded and represented through narratives, artefacts and events in multiple and diverse ways, and museums are often idealised sites for historical knowledge. Historicity is contingent on current needs and agendas, and often contested. Through retelling over time certain elements are highlighted or downplayed. Since the burial, the life and death of Joan Wytte has become vividly invested with new meanings as her story becomes incorporated into the landscapes of folklore, Cornish histories and magical practices.

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An experiment in story‐telling

Reassembling the house in Ladakh

Sophie Day

In 2013, my friend from previous periods of fieldwork, Deen Khan, suggested we photograph some of his favourite belongings and the few packed‐away memories that he had managed to retrieve from one of his stores at the time. Other Ladakhis were puzzled by Deen's extensive and haphazard collection, but he and I made a small ‘storyboard’ from some of the objects, which I explore in relation to Deen's unfolding biography from 2013 to 2017. The storyboard, as a collaborative endeavour, becomes a mechanism that foregrounds the material moorings of both biography and ethnography, brings them together in unanticipated ways and illuminates their many connections. In illustration, I show how references to partition drew connections between the state and its frontiers, relations among Buddhist and Muslim Ladakhis, and patterns of familial inheritance.