In this pathbreaking study, Pamela Steiner deconstructs the psychological obstacles that have prevented peaceful settlements to longstanding issues. The book re-examines more than 100 years of destructive ethno-religious relations among Armenians, Turks, and Azerbaijanis through the novel lens of collective trauma. The author argues that a focus on embedded, transgenerational collective trauma is essential to achieving more trusting, productive, and stable relationships in this and similar contexts. The book takes a deep dive into history - analysing the traumatic events, examining and positing how they motivated the actions of key players (both victims and perpetrators), and revealing how profoundly these traumas continue to manifest today among the three peoples, stymying healing and inhibiting achievement of a basis for positive change. The author then proposes a bold new approach to “conflict resolution” as a complement to other perspectives, such as power-based analyses and international human rights. Addressing the psychological core of the conflict, the author argues that a focus on embedded collective trauma is essential in this and similar arenas.
In his attempts to define the uncanny, Sigmund Freud asserted that the concept is undoubtedly related to what is frightening, to what arouses dread and horror. Yet the sensation is prompted, simultaneously, by something familiar, establishing a sense of insecurity within the domestic, even within the walls of one’s own home. This disturbance of the familiar further unsettles the sense of oneself. A resultant perturbed relationship between a person and their familiar world — the troubled sense of home and self-certainty — can be the result of a traumatic experience of loss, and of unresolved pasts resurfacing in the present. Memory traces are revised and interwoven with fresh experiences producing an uncanny effect. As “an externalization of consciousness”, the uncanny becomes a meta-concept for modernity with its disintegration of time, space, and self. The papers in this book seek to explore the representations of the uncanny in language, literature, and culture, applying the origins of the concept to a range of ideas and works.
The child has existed in cinema since the Lumière Brothers filmed their babies having messy meals in Lyons, but it is only quite recently that scholars have paid serious attention to her/his presence on screen. Scholarly discussion is now of the highest quality and of interest to anyone concerned not only with the extent to which adult cultural conversations invoke the figure of the child, but also to those interested in exploring how film cultures can shift questions of agency and experience in relation to subjectivity. Childhood and Nation in World Cinema recognizes that the range of films and scholarship is now sufficiently extensive to invoke the world cinema mantra of pluri-vocal and pluri-central attention and interpretation. At the same time, the importance of the child in figuring ideas of nationhood is an undiminished tic in adult cultural and social consciousness. Either the child on film provokes claims on the nation or the nation claims the child. Given the waning star of national film studies, and the widely held and serious concerns over the status of the nation as a meaningful cultural unit, the point here is not to assume some extraordinary pre-social geopolitical empathy of child and political entity. Rather, the present collection observes how and why and whether the cinematic child is indeed aligned to concepts of modern nationhood, to concerns of the State, and to geo-political organizational themes and precepts.
This book examines the shifting moral and spiritual lives of white Afrikaners in South Africa after apartheid. The end of South Africa’s apartheid system of racial and spatial segregation sparked wide-reaching social change as social, cultural, spatial and racial boundaries were transgressed and transformed. This book investigates how Afrikaners have mediated the country’s shifting boundaries within the realm of religion. For instance, one in every three Afrikaners used these new freedoms to leave the traditional Dutch Reformed Church (NGK), often for an entirely new religious affiliation within the Pentecostal or Charismatic churches, or New Religious Movements such as Wiccan neopaganism. Based on long-term ethnographic fieldwork in the Western Cape area, the book investigates what spiritual life after racial totalitarianism means for the members of the ethnic group that constructed and maintained that very totalitarianism. Ultimately, the book asks how these new Afrikaner religious practices contribute to social solidarity and integration in a persistently segregated society, and what they can tell us about racial relations in the country today. This book will be of interest to scholars of religious studies, social and cultural anthropology and African studies.
Presenting a detailed examination of the origins, evolutions, and state-of-the-art of linguistic landscape research, The Bloomsbury Handbook of Linguistic Landscapes is a comprehensive guide to the burgeoning field of linguistic landscapes and the study of meaning and interpretation in public spaces and settings. Providing a thorough synopsis of the theories, methodologies, and objects of study which inflect linguistic landscape research across the world, this book is the ideal companion for both new and experienced readers interested in the processes of communication in public spaces across diverse settings and from a broad range of perspectives. Through a wide selection of case studies and original research, the handbook highlights the global reach of linguistic landscape theories and practices. Scrutinising an array of qualitative, quantitative, and mixed methodological approaches for analysing a wide spectrum of meaning-making phenomena, it investigates semiosis in contexts ranging from graffiti and street signs to tattoos and literature, visible across a variety of sites, including city centres, rural settings, schools, protest marches, museums, war-torn landscapes, and the internet.
The range and scope of subjects is reflective of the diverse vantage points that such an eclectic group of practitioners bring to a discussion, within the visual aspects of performance practice.
Autotheory--the commingling of theory and philosophy with autobiography--as a mode of critical artistic practice indebted to feminist writing and activism. In the 2010s, the term "autotheory" began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory.
In this intellectually groundbreaking work, Timothy Murray investigates a paradox embodied in the book's title: What is the relationship between digital, in the form of new media art, and baroque, a highly developed early modern philosophy of art? Making an exquisite and unexpected connection between the old and the new, Digital Baroque analyzes the philosophical paradigms that inform contemporary screen arts. Examining a wide range of art forms, Murray reflects on the rhetorical, emotive, and social forces inherent in the screen arts' dialog with early modern concepts. Among the works discussed are digitally oriented films by Peter Greenaway, Jean-Luc Godard, and Chris Marker; video installations by Thierry Kuntzel, Keith Piper, and Renate Ferro; and interactive media works by Toni Dove, David Rokeby, and Jill Scott. Sophisticated readings reveal the electronic psychosocial webs and digital representations that link text, film, and computer. Murray puts forth an innovative Deleuzian psychophilosophical approach--one that argues that understanding new media art requires a fundamental conceptual shift from linear visual projection to nonlinear temporal fields intrinsic to the digital form.