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government. Such modifications are, in the United States the passage of the Freedom of Information Act, in France the end of the prefectoral tutelle, and in the United Kingdom the devolution of powers in the late 1990s to the Scots Parliament and the Welsh Assembly. While it is easy to say that understanding the present is helped by a knowledge of the past, in practice things are far more complicated. This is because historians do not and (more to the point) cannot agree on the past; when presenting HISTORY 71 their narratives they impose their own versions of

in Democratization through the looking-glass
From starving children to satirical saviours

. Since 2005, in the era that Chouliaraki defines as ‘post-humanitarian’, the humouring of poverty has been used intermittently in protest campaigns (Make Poverty History), fundraising appeals (Comic Relief) and in educational campaigns critiquing NGO representations (Radi-Aid). 64 The humorous narratives have included self-reflexive critiques of the NGOs’ own fundraising practices, subverting the

in Global humanitarianism and media culture
International man of stories

interpellations of conflictual ideologies. For a writer such as Mistry then, perhaps it is the case, as Tanya Luhrmann has put it, that ‘identity in a modern postcolonial context is less a self-characterising narrative with a mirroring world than a sense of command over narrative complexity’.3 Thus, while aware of the limitations of realism, Mistry does not concede that linguistic systems are purely self-reflexive. He recognises that part of the storyteller’s role is to find forms appropriate to the overlapping identities – Canadian, Zoroastrian, Indian and so on – he embodies

in Rohinton Mistry
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Identities in crisis in the early novels of Marie Darrieussecq

dermatologist, the fantastic figure of the marabout, the gynaecologists and last but not least her partner who declares that ‘les femmes, ça a toujours des problèmes de ventre’ (p. ) (‘women always have problems with their insides’ (p. )). In each case what comes to the fore are her increasingly acute sense of shame, negative self-perception and lack of autonomy as her body deviates from society’s exacting gold standard of sexual desirability. It is not possible within the scope of this chapter to explore every twist of Truismes’s picaresque narrative. Instead, if we are

in Women’s writing in contemporary France

, it is also possible to think of the self, that subject, as emerging through these stories and narrations. As such, narratives of the past must make space for the differentiated individual, so that all meaning and sense of identification is not lost. The view that memory is therefore a focus for struggle centred around power will evidently be seen, as the villagers of Diyalivtsi use narratives of border crossing not only to re-engage with the past, but also to construct views of it which challenge those produced on a national level in Ukraine since 1991. In a sense

in Migrating borders and moving times
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The adolescent girl and the nation

BOEHMER Makeup 3/22/05 2:55 PM Page 106 John's G5:Users:john:Public:John's Mac: John's Job 6 Daughters of the house: the adolescent girl and the nation till I have been delivered I will deliver no one (Olive Schreiner, The Story of an African Farm)1 In relation to the national son, the self-defining inheritor of the post-independence era and the protagonist of the nation-shaping narrative, the female child is a – if not the – non-subject within the national family romance. Revealingly, if paradoxically, given that her self-determination has been in

in Stories of women
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Tracing relatedness and diversity in the Albanian–Montenegrin borderland

region there are assemblies which perform mediation in case of conflicts and prevent or mediate in existing blood feuds.  7 Following Benhabib’s approach to the ‘narrative constitution of the self’ (2002: 15–16), which explores the individual agency associated with engaging with and transforming (collective) narratives, and Sieder’s (2008) analytic disentangling of narratives as sequences of decisions, I consider genealogical narratives as a form of agency.  8 http://www.sarapi.org.  9 The Montenegrin term bratstvo comprises all sub-branches of a patrilineage sharing a

in Migrating borders and moving times

un-recognizable to massa. Recognition theory, predominantly ensconced in debates over the prospects and pathologies of the European modern self, stumbles when it comes to engaging with the radical un-recognition that is congenital to the reproduction of colonial difference and perhaps at its most extreme in the slave plantation archipelago of the Americas (and elsewhere too

in Recognition and Global Politics

2 Forced conversion during the First Crusade Apostasy and Jewish identity Forced conversion during the First Crusade T he tendency that emerges from Rashi’s words reflects a decisive leadership approach, establishing a clear direction of attempting to return converts to Christianity to Judaism. The self-definition of Judaism its leaders sought to establish was that of a religion that felt confident in its ability to deal with Christian theological claims and in its political ability to deal with the threat of forced conversion. This situation changed during

in Apostasy and Jewish identity in High Middle Ages Northern Europe
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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)

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

in Irish literature since 1990