1990s, a sophisticated media genre. Dramatising the incursions of a colour present into a black and white past, Pleasantville creates a narrative based on the cultural apotheosis, ‘not everything is as simple as black and white’. Tapping into the spectacular growth of nostalgia networks on cable television during the 1990s, the film uses digital techniques of colour conversion to affect a political
maps. At the strategic level the player controls options that may include resupply, reinforcement, the allocation of air and artillery support, and the movement of large units. At a tactical level the player controls a small number of units indirectly through the issuing of a limited range of defend, move, and fire orders which may or may not be carried out by the units on the ground. All versions of the game are playable as single and unrelated battles, or in a campaign mode that allows the construction of an extended narrative following several weeks, or even years
without a temporal context, it is difficult to use artefacts as sources of knowledge. And without time, there will not be any narratives about the past, nor any discoveries to reflect on. Time is crucial for connecting events, a once-in-the-past with a now-in-the-present and a once-in-the-future, a here-in-one-place with a there-in-another-place. Time is a necessary condition of narratives, irrespective of whether they are tales of facts, counterfactuals, or fiction, and irrespective of whether they are science or literature (Wright 1971 : 42ff, 103ff; Ricoeur 1984
programme, or – as in the case of the dissident intellectuals – to challenge such accounts. However, they all attempted to give resonance to abstract ideas in the contemporary context. After a discussion of the so-called ‘Franjoist’ narrative offered by President Franjo Tuœman and his party, I will discuss alternative conceptions of identity that were articulated by opposition parties, dissident intellectuals and the Croatian diaspora. I argue that each of these ‘political entrepreneurs’ drew upon, and offered interpretations of, the historical statehood thesis in order
environmental awareness (Epstein, 2008). This book is designed to give us insight into how power relations have been important to structuring and sustaining cross-border Arctic cooperation and cooperative governance of the region. Taking a close look at power necessitates jostling and unpacking established narratives about regional history and key actors. This chapter, however, aims to provide readers less familiar with Arctic settings with important19background 20 Arctic governance and, therefore, draws upon established narratives and classifications that later chapters
’s vulnerable underbelly. Articulating freedom of movement within the Schengen space with a variable geometry of control of the external frontiers, the 1990s are marked as the period when the EU began tightening and militarising its borders. 6 The EU justified its massive investments in border controls through the narratives of national security – combating human smuggling and potential terrorists. 7 As well
, people like Ki Hajar Dewantara and their ideas are all but forgotten today. If they are remembered, they are remembered solely within a larger narrative of ‘national awakening’, bled of all contradiction and complexity. This is a narrative of modernity, focussed on major state institutions and their antecedents. Southeast Asian studies has, as a field, been development-obsessed. The place of education is assumed in this narrative, but has rarely been explored systematically and critically. This is in spite of, or perhaps because of, the faith Southeast Asian elites
is a tendency to divide what happened in the West into two master narratives: one emphasizes the unfortunate, unintentional result of diseases that shredded Native immune systems from the late eighteenth to mid-nineteenth centuries throughout the Americas, what Tom Bender refers to as ‘the greatest human demographic disaster in the historical record’.7 The other narrative emphasizes the role of human agency in population reduction in the second half of the nineteenth century, variously attributed to policies of ‘extermination’, the discovery of lucrative natural
9780719075636_4_013.qxd 16/2/09 9:29 AM Page 232 13 ‘Sacred spaces’: writing home in recent Irish memoirs and autobiographies (John McGahern’s Memoir, Hugo Hamilton’s The Speckled People, Seamus Deane’s Reading in the Dark and John Walsh’s The Falling Angels) Stephen Regan One of the familiar conventions of autobiography is its revelation of an individual life through a compelling first-person narrative voice. To work upon its readers most effectively, autobiography needs to present the life in question as both unique and typical; it must offer an appealing
outside the systems of state sovereignty and global capital. Unlike other forms of humanitarian narrative, which are focused on humanitarian crises and projects or on the work of a particular organisation, humanitarian life-writing tells a story of individual education and empowerment. As a result the genre’s emphasis is not the typical one of compassion and pathos, though images of human