Open Access (free)
Writing about Personal Experiences of Humanitarianism
Róisín Read, Tony Redmond, and Gareth Owen

(2016) uses memoirs to explore the ethical impulses that drive people to engage in humanitarian work and Róisín Read (2018) examines what humanitarian memoir can tell us about gender identity in humanitarianism. Emily Bauman analyses the growth in humanitarian memoir and argues it ‘generates an aura of authenticity much-needed by an industry reliant on public donations and on the perception of its status as a player outside the systems of state sovereignty and global capital’ ( Bauman, 2019 : 83). This small but growing body of research highlights the need to take

Journal of Humanitarian Affairs
Rethinking Digital Divides by Linda Leung
Antonio Díaz Andrade

text, transmitting authenticity. She makes good use of tables, diagrams and photographs throughout the book. Her interview data is publicly available at http://trr.digimatter.com (‘Use of Technology by Asylum Seekers and Refugees’). This constitutes a valuable resource for interested readers. The book is well suited to policymakers devising information and communication-technology policies, especially those intended for individuals from refugee backgrounds. The book can also be an interesting

Journal of Humanitarian Affairs
Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

gave meaning to their suffering. These movies coexisted with field reports or travel diaries of humanitarian delegates who documented the horrors in the first person that the charities’ magazines then published on a massive scale. 10 Humanitarian accounts by delegates provided additional data to contested realities, because even the authenticity of news pictures was disputed ( Bulletin de l’UISE , 1922 ). For example, Famine in Russia was distributed with hundreds of still images from the film, used as propaganda tools to freeze-frame the most memorable parts of

Journal of Humanitarian Affairs
Mel Bunce

and deprivation that might prompt humanitarian action ( ibid .: 52). For a photo or video footage to ‘work’, however, the audience must trust its creator. As Roland Barthes argued, the reality of photographs, and their guarantee of authenticity, does not rest in the photographs themselves: ‘it is lent by editors and later by viewers who accept the claims made by texts that they are proof of “what-has-been”’ ( Barthes, 1977 : 44). The proposed contract between an event and its truthful representation was hard enough to sustain in the

Journal of Humanitarian Affairs
Sean Healy and Victoria Russell

sources have grown considerably in reach and influence due to record-low levels of trust in mainstream media and due to the disruption of mainstream media outlets’ production and distribution models. YouTube has proven an especially effective mechanism for these influencers, as it allows them to both demonstrate relatability and authenticity while connecting with this ‘counter-cultural’ rejection of mainstream media. Finally, once spreading widely in

Journal of Humanitarian Affairs
Middle-Aged Syrian Women’s Contributions to Family Livelihoods during Protracted Displacement in Jordan
Dina Sidhva, Ann-Christin Zuntz, Ruba al Akash, Ayat Nashwan, and Areej Al-Majali

? ’, Disasters , 42 : S1 , S40 – S60 . Rugh , A. ( 1996 ), Within the Circle: Parents and Children in an Arab Village ( New York : Columbia University Press ). Salamandra , C. ( 2004 ), New Old Damascus: Authenticity and Distinction

Journal of Humanitarian Affairs
Open Access (free)
World Heritage and modernity
Author: Jes Wienberg

Heritopia explores the multiple meanings of the past in the present, using the famous temples of Abu Simbel and other World Heritage sites as points of departure. It employs three perspectives in its attempt to understand and explain both past and present the truth of knowledge, the beauties of narrative, and ethical demands. Crisis theories are rejected as nostalgic expressions of contemporary social criticism. Modernity is viewed as a collection of contradictory narratives and reinterpreted as a combination of technological progress and recently evolved ideas. The book argues that while heritage is expanding, it is not to be found everywhere, and its expansion does not constitute a problem. It investigates the World Heritage Convention as an innovation, demonstrating that the definition of a World Heritage site succeeds in creating a tenable category of outstanding and exclusive heritage. The book introduces the term “Heritopia” in order to conceptualise the utopian expectations associated with World Heritage. Finally, it points to the possibilities of using the past creatively when meeting present-day and future challenges.

Open Access (free)
Between Adorno and Heidegger
Joanna Hodge

Adorno and Heidegger give different philosophical responses to these paradoxes, they are in agreement about the importance of an analysis of artworks in assessing what philosophy can contribute to an understanding of epochal change and world crisis.4 This epochal change and world crisis Adorno analyses in conjunction with Horkheimer, in 1944, as an irresolvable dialectic of enlightenment, Heidegger in terms of a dangerous domination of human endeavour by technology.5 Adorno goes on to read Heidegger critically in Jargon of Authenticity: On German Ideology (1964) and in

in The new aestheticism
Open Access (free)
Mary Chamberlain

, they believed, had become bifurcated, identity doubtful, and resolution sought in the search for authenticity. These philosophical ideas, adumbrated in their exalted Parisian settings, served to illuminate the black experience. In this lies the significance of the Paris Congress of 1956: and of Frantz Fanon, Richard Wright… and George Lamming. For Lamming, in common with Fanon and Wright, the search

in West Indian intellectuals in Britain
Open Access (free)
Melanie Giles

‘visitors … experience authenticity and aura in front of originals to exactly the same degree as they do in front of very good reproductions or copies, as long as they do not know’. Yet this deception is, for others, unethical, touching deeply upon the philosophical tenets of William Morris, to only carry out ‘fair repair’ that is honest about its interventions (see Pye 2001b ). In Silkeborg Museum, a small label warns visitors about the complex history of what they are seeing, but it can be quite easily overlooked and the eventual encounter does not foreground this fact

in Bog bodies