wearying of témoignage .
Different conceptions of témoignage among the various MSF
operational sections, anxieties about blurring of its medical identity as well as
concerns around instrumentalisation of its voice and the risk of losing operational
access have all combined to remove the moral and political edge of
témoignage . With limited appetite for sweeping political
statements, témoignage has been recast as a storytelling
trope, where carefully
( 2019 ), ‘ Healing through Storytelling:
Indigenising Social Work with Stories , The British
Journal of Social Work , 49 : 6 ,
1472 – 90 .
( 2009 ), ‘ Nobody is Immune: Gender against
Men ’, press release, 3
June , for premier of Refugee Law Project
documentary , Gender against
This book is dedicated to the study of computer games in terms of the stories they tell and the manner of their telling. It applies practices of reading texts from literary and cultural studies to consider the computer game as an emerging mode of contemporary storytelling. The book contains detailed discussion of narrative and realism in four of the most significant games of the last decade: ‘Tomb Raider’, ‘Half-Life’, ‘Close Combat’, and ‘Sim City’. It recognises the excitement and pleasure that has made the computer game such a massive global phenomenon.
culture – that one is missing the irony,
has failed to note the knowing nudge and wink, and should approach the text on its own terms.
And yet Half-Life has been seen as setting something of a
benchmark in game-fiction history, setting a gold standard of both
‘storytelling’ and ‘realism’ that subsequent game-fictions have been
measured against. The game’s developers have certainly
foregrounded this aspect of the experience, as the following promotional text taken from the publisher’s website demonstrates:
Throughout the game, both friends and foes behave in
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intrinsic concern with the Parsi community, it is nevertheless
clearly continuing the investigation of the interconnected spaces
of a multitudinous nation, and the intersubjective processes of
storytelling that lies at the heart of Mistry’s oeuvre. Its cast of
characters includes a secular Hindu who holds out against the
excesses of the zealots in his own religion, a Muslim shop
worker who drinks beer with his employer, and – for a while at
least – a Parsi who is determined to do his best for his family
that Tomb Raider can be ‘read’ as fiction,
More than a game
and as self-conscious fiction in which serious play is made not just
in game terms, but in terms that literary critics would recognise as
play with the possibilities and limitations of storytelling. Some aspects of this self-consciousness, it is demonstrated here, are the
result of what might be termed deliberate ‘authorial’ intention or
design, and include (but sometimes go beyond) mere parody and
pastiche. Potentially more interesting formal characteristics emerge
This book illuminates the personal experience of being at the centre of a media
scandal. The existential level of that experience is highlighted by means of the
application of ethnological and phenomenological perspectives to extensive
empirical material drawn from a Swedish context. The questions raised and
answered in this book include the following: How does the experience of being
the protagonist in a media scandal affect a person’s everyday life? What happens
to routines, trust, and self-confidence? How does it change the basic settings
of his or her lifeworld? The analysis also contributes new perspectives on
the fusion between interpersonal communication that takes place face to face,
such as gossip and rumours, and traditional news media in the course of a
scandal. A scandal derives its momentum from the audiences, whose engagement in
the moral story determines its dissemination and duration. The nature of that
engagement also affects the protagonist in specific ways. Members of the public
participate through traditional oral communication, one vital aspect of which is
activity in digital, social forums. The author argues that gossip and
rumour must be included in the idea of the media system if we are to be able to
understand the formation and power of a media scandal, a contention which
entails critiques of earlier research. Oral interpersonal communication does not
disappear when new communication possibilities arise. Indeed, it may be
invigorated by them. The term news legend is introduced, to capture the
entanglement between traditional news-media storytelling and oral narrative.
Rohinton Mistry is the only author whose every novel has been shortlisted for the Man Booker Prize. Such a Long Journey (1991), A Fine Balance (1995) and Family Matters (2002) are all set in India's Parsee community. Recognised as one of the most important contemporary writers of postcolonial literature, Mistry's subtle yet powerful narratives engross general readers, excite critical acclaim and form staple elements of literature courses across the world. This study provides an insight into the key features of Mistry's work. It suggests how the author's writing can be read in terms of recent Indian political history, his native Zoroastrian culture and ethos, and the experience of migration, which now sees him living in Canada. The texts are viewed through the lens of diaspora and minority discourse theories to show how Mistry's writing is illustrative of marginal positions in relation to sanctioned national identities. In addition, Mistry utilises and blends the conventions of oral storytelling common to the Persian and South Asian traditions, with nods in the direction of the canonical figures of modern European literature, sometimes reworking and reinflecting their registers and preoccupations to create a distinctive voice redolent of the hybrid inheritance of Parsee culture and of the postcolonial predicament more generally.
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.
This chapter highlights the ways diasporas form as a collectively identified community despite their dispersal to multiple sites and in the Caribbean case, multiple nations of origin. These communities are neither homogeneous nor innate; they do a lot of work to construct boundaries around themselves and in the case of the Mavericks Cricket and Social Club (MCSC) that work involves liming to recreate a sense of home. Liming is a uniquely Caribbean expression that captures the practice of socializing, listening to music, playing and watching games of cricket and dominoes, and engaging in spirited rounds of antiphonic storytelling in native Patois languages and various English accents. This chapter explores these tactics used by MCSC members to create a sense of familiarity, solidarity, security, and comfort in a racist society; to celebrate blackness and masculinity; and to assuage the fear of infirmity and mortality. Through a focus on club members’ activities before, during and after games, the chapter shows how they mark themselves as part of various bounded groups: Blacks, Afro-Caribbeans, and also a local, Canadian community.