Braving the Ottoman‘s ban on capturing any images of the persecuted Armenians, witnesses
dodged censorship and photographed pictures that would later be branded as proofat the
Paris Peace Conference in 1919–20. Despite the challenge of these images to
representations of the Armenian genocide, they were soon forgotten after the 1923 Treaty
of Lausanne erased the Armenian Question, while time took care of destroying the corpses
abandoned in the desert. This article will examine the image-disappearance dialectic
through distinct temporalities of remembrance,and commemoration, each of which mobilises
its own specific, iconographical semantics. In response to contemporary challenges, the
repertoire of images has not remained sealed; over the last decade it has been reopened
through depictions of bare landscapes and stretches of desert and bones,that suddenly
pierce through the earth. The article will show how these images implicitly speak of the
disappearance and seek meaning through emptiness.
The Khmer Rouge forbade the conduct of any funeral rites at the time of the death of the
estimated two million people who perished during their rule (1975–79). Since then,
however, memorials have been erected and commemorative ceremonies performed, both public
and private, especially at former execution sites, known widely as the killing fields. The
physical remains themselves, as well as images of skulls and the haunting photographs of
prisoners destined for execution, have come to serve as iconic representations of that
tragic period in Cambodian history and have been deployed in contested interpretations of
the regime and its overthrow.
this flaw by putting forth lived experiences of violence to mobilise
international attention. They have sought to burnish individual voices, giving
them a platform to amplify their own stories in a way that is able to draw
attention to a cause while simultaneously also humanising it. It has given rise
to global icons such as Malala Yousafzai who have been able to galvanise support
for girls’ right to education, especially in conflict-affected areas
whether some of the most iconic bog bodies were accidents, executions, sacrifices or self-offerings. We should not be too concerned: Charles Sanders Peirce himself used the bog to evoke the ever-provisional nature of scientific enquiry that is not ‘standing on the bedrock of fact. It is walking upon a bog, and can only say, this ground seems to hold for the present. Here I will stay till it begins to give way’ (in Hartshorne and Weiss 1994 : V: 589).
What we can do, however, is contextualise our bog bodies, in place and in time. Throughout, the book has sought to
, to re-examine the processes, both practical and philosophical, through which they have been preserved to become cultural as well as archaeological icons. Finally, to critically consider why these human remains, above all others, have come to capture the northern European imagination – for better or worse – in ways that prompt us to re-examine both our own humanity and our mortality.
Only archaeology can achieve this, because as a discipline it crosses the territories of forensics, environmental analysis, social and landscape history and material culture studies
later medieval reader of this stanza would have immediately connected this discovery to the miraculously preserved bodies found in other Christian settings, such as Joan of Acre from Clare Priory in Suffolk or the iconic remains of St Cuthbert that formed the centrepiece of pilgrimage at Durham Cathedral (O’Brien 2016 ). As Bede himself put it, ‘opening the tomb, [they] found his body entire, as if he were still alive, and his joints flexible, as if he were not dead but sleeping. His clothes also, were still undecayed, and seem to retain their original freshness and
Why is the nation in a post-colonial world so often seen as a motherland? This study explores the relationship between gender icons and foundational fictions of the nation in different post-colonial spaces. The author's work on the intersections between independence, nationalism and gender has already proved canonical in the field. This book combines her keynote essays on the mother figure and the post-colonial nation with new work on male autobiography, ‘daughter’ writers, the colonial body, the trauma of the post-colony and the nation in a transnational context. Focusing on Africa as well as South Asia, and sexuality as well as gender, the author offers close readings of writers ranging from Chinua Achebe, Ben Okri and Nelson Mandela to Arundhati Roy and Yvonne Vera, shaping these into a critical engagement with theorists of the nation such as Fredric Jameson and Partha Chatterjee. Moving beyond cynical deconstructions of the post-colony, the book mounts a reassessment of the post-colonial nation as a site of potential empowerment, as a ‘paradoxical refuge’ in a globalised world. It acts on its own impassioned argument that post-colonial and nation-state studies address substantively issues hitherto raised chiefly within international feminism.
Given the significant similarities and differences between the welfare states of Northern Europe and their reactions to the perceived 'refugee crisis' of 2015, the book focuses primarily on the three main cases of Denmark, Sweden and Germany. Placed in a wider Northern European context – and illustrated by those chapters that also discuss refugee experiences in Norway and the UK – the Danish, Swedish and German cases are the largest case studies of this edited volume. Thus, the book contributes to debates on the governance of non-citizens and the meaning of displacement, mobility and seeking asylum by providing interdisciplinary analyses of a largely overlooked region of the world, with two specific aims. First, we scrutinize the construction of the 2015 crisis as a response to the large influx of refugees, paying particular attention to the disciplinary discourses and bureaucratic structures that are associated with it. Second, we investigate refugees’ encounters with these bureaucratic structures and consider how these encounters shape hopes for building a new life after displacement. This allows us to show that the mobility of specific segments of the world’s population continues to be seen as a threat and a risk that has to be governed and controlled. Focusing on the Northern European context, our volume interrogates emerging policies and discourses as well as the lived experiences of bureaucratization from the perspective of individuals who find themselves the very objects of bureaucracies.
The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913. This book is about two distinct but related professional cultures in late Soviet
Russia that were concerned with material objects: industrial design and
decorative art. The Russian avant-garde of the 1920s is broadly recognised to
have been Russia’s first truly original contribution to world culture. In
contrast, Soviet design of the post-war period is often dismissed as hackwork
and plagiarism that resulted in a shabby world of commodities. This book
identifies the second historical attempt at creating a powerful alternative to
capitalist commodities in the Cold War era. It offers a new perspective on the
history of Soviet material culture by focusing on the notion of the ‘comradely
object’ as an agent of progressive social relations that state-sponsored Soviet
design inherited from the avant-garde. It introduces a shared history of
domestic objects, handmade as well as machine-made, mass-produced as well as
unique, utilitarian as well as challenging the conventional notion of utility.
Situated at the intersection of intellectual history, social history and
material culture studies, this book elucidates the complexities and
contradictions of Soviet design that echoed international tendencies of the late
twentieth century. The book is addressed to design historians, art historians,
scholars of material culture, historians of Russia and the USSR, as well as
museum and gallery curators, artists and designers, and the broader public
interested in modern aesthetics, art and design, and/or the legacy of socialist
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.