Aun cuando se plantea que Arendt y Benjamin sostienen posiciones filosófico políticas irreconciliables, nosotros consideramos que existen líneas de confluencia que parten de una crítica a la Modernidad y los llevan a explorar temas como la narración, la narratividad, la autoridad y la legitimidad. En este trabajo me centraré en la visión que cada uno de ellos tiene sobre el Marxismo, sus apropiaciones, así como las derivaciones a las que llegan. Intentaré mostrar que, mientras en Arendt sobresale una crítica al (...) marxismo como parte de la tradición de pensamiento Occidental, en Benjamin derivará en un giro al idealismo y la teología que pasará a ser redención. (shrink)

This is an exploration of how the narratives people construct during everyday living are shaped by certain limitations and regular patterns in individual memory. The book draws on themes in Walter Ong's analysis of memory and oracy. It also explores the relations between memory aids/supports and memory itself. The recognition of records as playing a role in memory adds a collective dimension and raises questions about the nature of historical truth. The ethical theme is based (...) on the thesis that the past can be redeemed or changed not just on the level of narrative, but also on the level of additional actions that can be related to prior actions in such a way as to justify a new narration of the events taken together. This means that the past can be changed, and this notion of redeeming the past is inspired by Christian thought. (shrink)

What is the redemptive power of art? More fundamentally, what are the assumptions which make it seem natural to think of art as having such powers? In attempting to answer these questions, I will first be turning to Proust, who embodies perhaps more clearly—in a sense, even more crudely—than any other major artist a certain tendency to think of cultural symbolizations in general as essentially reparative. This tendency, which had already been sanctified as a more or less explicit dogma of (...) modern high culture by Proust’s time, persists, I believe, in our own time as the enabling morality of a humanistic criticism. I will argue that the notion of art as salvaging somehow damaged experience has, furthermore, been served by psychoanalysis—more specifically, by a certain view of sublimation first proposed rather disconnectedly by Sigmund Freud and later developed more coherently and forcefully by Melanie Klein. The psychoanalytic theory I refer to makes normative—both for an individual and for a culture—the mortuary aesthetic of A la recherché du temps perdu.As everyone knows, involuntary memories play a crucial role in the Proustian narrator’s discovery of his vocation as a writer. Let’s begin with a somewhat untypical example of the genre, the passage in Sodome et Gomorrhe describing the “resurrection” of Marcel’s grandmother on the first evening of his second visit to Balbec. This passage reformulates the importance of memory for art in terms of another relation about which the theoretical passages that conclude Le Temps retrouvé will be at once prolific and evasive: the dependence of art on death. Leo Bersani is professor of French at the University of California, Berkeley. The Forms of Violence/Narrative in Ancient Assyria and Modern Culture, written in collaboration with Ulysse Dutoit, is his most recent publication. Professor’s The Freudian Body/Psychoanalysis and Art will be published this winter. (shrink)

This article explores the way that senile dementia is represented in contemporary culture, with particular reference to texts which narrate the experience of caring for a parent or spouse with one form of the illness. These narratives raise problematic issues about the materiality of the body and its relation to individual identity, and the unstable relationship between memory and identity in postmodern culture, by drawing on the actual experience of bodily dependency and disorientating memory loss in dementia patients. (...) These speculations about the body, memory and the self are ultimately related in narratives of dementia to the inevitable process of aging and dying and the cultural meanings attached to it. The article places the representation of dementing illnesses within a Foucauldian narrative of surveillance and control in the discourse of aging and death in modern Western societies, redemptive views of illness in western culture and arguments about death in contemporary theory. (shrink)

Philosophy is often depicted as generically distinct from literature, myth, and history, as a discipline that eschews narration and relies exclusively on abstract reason. This book takes issue with that assumption, arguing instead that political philosophers have commonly presented their readers with a narrative, rather than a logic, of politics. The book maintains that philosophical texts frequently persuade through the creation of a 'role' that they invite their audience to inhabit. The author also investigates the place of narrative in politics (...) in two ways. It offers a hypothesis of a broad connection between political identity and narrative, and it analyzes three major figures in the history of political thought - Locke, Hegel, and Nietzsche - to demonstrate that their work is best understood through the hypothesis. The author argues that each of these philosophers rewrites the past in an attempt to direct the future. (shrink)

Individuals develop a narrative identity through constructing and internalizing an evolving life story composed of significant autobiographical memories. The ability to narrate these memories in a coherent manner has been related to well-being, identity functioning, and personality pathology. Previous studies have particularly focused on coherence of life story narratives, overlooking coherence of single event memories that make up the life story. The present study addressed this gap by examining associations between narrative coherence of single turning point memories and psychological well-being, (...) identity functioning, and personality disorder (PD) symptoms among 333 Belgian emerging adults (72.1% female;Mage= 22.56,SD= 3.13, age range = 18–30). In addition, the present study tested whether narrative coherence could predict unique variance in PD symptoms above and beyond identity and interpersonal functioning, both considered key components of personality pathology. The findings showed that narrative coherence was not significantly related to psychological well-being, but yielded significant negative associations with disturbed identity functioning and antisocial PD symptoms. Furthermore, narrative coherence predicted unique variance in antisocial PD symptoms above and beyond identity functioning, but did not predict unique variance in borderline and antisocial PD symptoms above and beyond both identity and interpersonal functioning. Collectively, these findings suggest that narrative incoherence within single event memories might be characteristic for disturbed identity functioning and antisocial personality pathology. (shrink)

It is about analyzing the connection between just memory, narration and art, using an approach that mixes philosophy and visual arts. We will start from the perspective of the French philosopher Paul Ricoeur on fair memory, presented in his work Memory, History, Oblivion (2000), according to which there is an institutionalized ideologization of memory in which narrations are silenced or distorted by the so-called official history. In the process of recovering fair memory, these narratives need (...) to be heard, recognized and valued, deconstructing abusive mechanisms that silence them with the aim of producing oblivion or that manipulate them involve distorting the facts to benefit hegemonic discourses. Next, we will discuss how the myth of Brazilian racial democracy is an example of institutionalized ideologization of memory, considering mainly the reflections of Brazilian philosophy Sueli Carneiro in Device of raciality (2023). Finally, we will show how Elian Almeida's pictorial counter-narratives, especially the Vogue series (2020), work to strengthen and disseminate unofficial narratives about Brazil that have been suffocated by official history. (shrink)

At the heart of the Israeli-Palestinian conflict rages a struggle between two foundational tragedies: the Jewish Holocaust and the Palestinian Nakba. The contending ways in which both events are commemorated is a known feature of the conflict. Less known are marginal attempts to jointly deliberate on them. This article draws on such attempts to theorize a postnational conception of memory. Deliberating on the Holocaust and the Nakba, it argues, challenges the way nationalism structures ‘our’ and ‘their’ relationship to the (...) past. While nationalism seeks the congruence of memory and territory, postnationalism challenges this congruence. Doing so entails extending the communicative bounds of memory beyond national members, disrupting the territorialization of memory along national lines, and critically revising national narratives in light of a cosmopolitan memory. The article explores these three dimensions and offers a typology that differentiates the way nationalism and postnationalism mediate our relationship to the past. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Memory and Justice:Narrative Sources of Community in Camus's The First ManJohn Randolph LeBlancThere as a certain frustration involved in trying to find Albert Camus's conception of justice in express positive statements. But inasmuch as Camus saw his work in the trope of journey, his complex set of ideas about justice are to be discerned in the narrative structure of his texts. This is particularly so in his last (...) work, the incomplete autobiographical The First Man.1 In the novel, Camus has his protagonist and fictional self Jacques Cormery seek the sources of his orientation to questions of love and justice by attempting to reconstruct the brief life of a father he never knew. It is in the life reconstructed, chiefly through the recollected memories of those who knew the man that Jacques comes to understand his own responses to questions of love and justice. A necessary by-product of the process is that through his questioning, Jacques recreates a community of which he is a product but, until the journey is undertaken, he has never been a part. His journey is, thus, one of self-discovery and inextricably ties justice to community formation. Camus's last novel, I will argue, suggests the importance of memory and narrative to the fundamental questions of political theory, particularly, questions regarding community-formation and the role and nature of justice.IContemporary reflections on the nature of politics take narrative encounters with reality seriously. The significance of narrative to political theory is, I think, tied to the Augustinian recognition that, temporally speaking, we live forward but learn backwards. It is through reconstructing [End Page 140] our experiences as individuals that we learn about who we are and how we got here. Recent political theory has come to recognize that this epistemological structure works at both the individual and the communal level. Michael Walzer, for example, has suggested that a community's culture is the story its members tell so as to make sense of the different pieces of their social life and justice is the doctrine that distinguishes the pieces.2 But distinguishing the pieces can mean and has meant blocking or restricting our access to that reconstruction. While a time-honored political practice, the impulse to control the contents of the narrative by deeming it unworthy or too dangerous to speak became a self-conscious political practice and a particularly dangerous phenomenon in the last century. Controlling the contents of narrative means control in past, present, and future tense. Memory can become a site of resistance because narrative depends on memory for its points of reference. What gets narrated gets remembered. Most often, what does not get narrated either gets lost or must find another way.Narrative and memory have always been political resources, Joshua Foa Dienstag suggests in his important work on memory and narrative in political theory, but the self-conscious control of them is dangerous.3 At the end of a century wherein we perpetrated much we might be tempted to forget, it is increasingly evident that we must remember before we can speak of justice, that is, our stories must be told and heard before we can reconstitute (or re-member) a functional conception of political community. It is in these terms that I want to talk about narrative and its relationship to political community and justice. But what is silenced is as important as what is articulated. Dienstag, who reads political theory as narrative, suggests that, practically speaking, what we have learned is that memory unarticulated is even more dangerous than memory manipulated. Memory unarticulated either festers and becomes a flashpoint for turmoil or is articulated by an interest for its own ends and becomes a tool of control if not oppression. In either case, memory is bastardized to the ends of power politics and distinguishing between authentic and inauthentic experiences becomes the province of politicians. Leaving these distinctions to politicians, I want to suggest, is risky business. When memory represents the absence of a set of experiences rather than their presence, we are confronted by the end of a community rather than its beginning.All cultures, Walzer suggests, have an interest in... (shrink)

Memories and Monsters explores the nature of the monstrous or uncanny, and the way psychological trauma relates to memory and narration. This interdisciplinary book works on the borderland between psychology and philosophy, drawing from scholars in both fields who have helped mould the bourgeoning field of relational psychoanalysis and phenomenological and existential psychology. The editors have sought out contributions to this field that speak to the pressing question: how are we to attend to and contend with our monsters? The (...) authors in this volume examine the ways in which we might best relate to our monsters, and how the legacies of ancient traumas and anxieties continue to affect our current stories, memories and everyday practices. Covering such manifestations of the monstrous as racism, crimes against humanity, trauma as portrayed in music and art, and the Holocaust, this book explores the impact the uncanny has on our individual and collective psyches. By focusing on a very specific theme, and one that excites the imagination, Memories and Monsters stokes the flames of an important current movement in relational psychoanalysis. It will appeal to psychoanalysts and psychoanalytic psychotherapists, as well as professionals in psychology and graduate school students and tutors in the fields of both psychology and philosophy. (shrink)

Memory is everywhere in Blade Runner 2049. From the dead tree that serves as a memorial and a site of remembrance (“Who keeps a dead tree?”), to the ‘flashbulb’ memories individuals hold about the moment of the ‘blackout’, when all the electronic stores of data were irretrievably erased (“everyone remembers where they were at the blackout”). Indeed, the data wiped out in the blackout itself involves a loss of memory (“all our memory bearings from the time, they (...) were all damaged in the blackout”). Memory, and lack of it, permeates place, where from the post-blackout Las Vegas Deckard remembers it as somewhere you could “forget your troubles.” Memory is a commodity, called upon and consumed by the Wallace Corporation, purchased from the memory-maker, Dr Ana Stelline, who constructs and implants “the best memories” in replicants so as to instil in them real human responses. Memory is ubiquitous in Blade Runner 2049, involving humans, replicants, objects, and machines. Even “God,” we are told, “remembered Rachael.” Nowhere, though, is the depiction of memory more important than in the attempt to solve a question of identity. Officer K has a memory of his past. Even though he knows it is an implant, it is a memory he is emotionally attached to, frequently narrating it to Joi, his digital girlfriend. But it is a memory that starts to puzzle and trouble him. When K discovers the remains of a dead replicant, a female NEXUS-7, he uncovers a secret—this replicant was pregnant and died during childbirth, a discovery that could “break the world.” K is charged with hunting down the child and making the problem disappear. Yet as K starts seeking answers to the question of the child’s identity he gets inextricably caught up in the mystery. Is he merely Officer K, or is he Joe, the miracle child of Rachael and Deckard? The answer to this question hinges on K’s memory. But is the memory genuine? Is the memory his? Blade Runner 2049 encourages us to think deeply about the nature of memory, identity, and the relation between them. Indeed, the film does not just serve as a starting point for thinking about philosophical issues related to memory and identity. Rather, as we show in this chapter, the film seems to offer a view on these philosophical issues. Blade Runner 2049 offers us a view of memory as spread out over people, objects, and the environment, and it shows us that memory’s role in questions of identity goes beyond merely accurately recalling one’s past. Identity depends not on memory per se, but partly on what we use memory for. (shrink)

This multidisciplinary volume documents the resurrection of the importance of narrative to the study of individuals and groups and argues that narrative may become a lingua franca of future debates in the human sciences.

This article takes up the “Furet/nolte debate” over the meaning of fascism and communism for our time. It does so in order to sketch out the dilemmas that confound the construction of meaningful narratives of the twentieth century, where persistent obstacles attend the enclosure of twentieth‐century events within an integrated and coherent whole. For at least two reasons, I suggest, the correspondence of Ernst Nolte and the late François Furet is instructive in identifying the nature of these obstacles more precisely. (...) First, Furet himself is the author of what is currently construed as being one of the most ambitious attempts to narrate the twentieth century, by taking the “illusions” engendered by faith in the Marxist–Leninist project as its organising principle. Second, the positions adopted by Nolte have been contested in the public sphere as being acutely emblematic of problems latent in the attempt to enclose communism and fascism together in a narrative of mutual complicity. The correspondence between Furet and Nolte therefore provides a fruitful context in which to treat a set of related problems bearing upon the relation between historical truth and reconciliation, between history and memory, and between the contemporary world and the advent of totalitarianism. As I conclude, a key point which has to date been overlooked in discussions of this kind is the coincidence of attempts to establish a historiographic framework for the twentieth century with efforts to undertake a settling of accounts with socialism. (shrink)

Narrative picturing is a creative interviewing technique that can be applied within qualitative research interviews with the aim of enhancing the ‘richness’ of narrative data. This paper describes briefly narrative picturing and its theoretical underpinnings. Whilst using this technique within a dedicated study of people with experience of self‐cutting, two key factors emerged in relation to advancing the use of narrative picturing. These were overcoming the inhibitions of the person interviewed and the exploration of personal meaning(s) disclosed during narrative picturing, (...) which were commonly found to be particularly abstract or unprocessed. This paper suggests interviewing techniques aimed at overcoming these potential limitations. Once overcome, narrative picturing appeared to support the exploration and narration of more ‘in‐depth’ accounts of lived experience, enhancing understandings of both the person interviewed and the researcher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.2 (2000) 187-191 [Access article in PDF] Book Review Memory, Identity, Community: The Idea of Narrative in the Human Sciences Memory, Identity, Community: The Idea of Narrative in the Human Sciences. Ed. Lewis P. Hinchman and Sandra K. Hinchman. Albany: SUNY Press, 1997. Pp. 393. $59.50, cloth; $19.95, paperback. According to its editors, the point of this anthology of previously published essays is to (...) "illustrate the ways in which 'narrative' has been used as an organizing concept in the human sciences over the last few decades" (ix). They argue that a "paradigm shift" is occurring in the human sciences, "one that leads away from nomological models and toward a more humanistic language and approach, in which narratives are central." Accordingly, the collection features essays about narrative written by authors who represent fields as disparate as philosophy, history, sociology, anthropology, psychology, religion, law, gender studies, political science, speech communication, and environmental studies. The collection reprints a few essays that are well known within the humanities. For example, the Hinchmans include an excerpt from Alasdair MacIntyre's After Virtue (1981), as well as Gertrude Himmelfarb's often-reprinted attack on social history, entitled "History With the Politics Left Out."As their title indicates, the editors divide their collection into three sections entitled "Memory," "Identity," and "Community." Their rationale for this division is that memory serves humans as a narrative stream that makes sense of the otherwise inchoate data given by experience. The narrative structured by memory produces what the Hinchmans call identity. Identity in its turn is influenced by narratives that circulate in the communities in which an individual exists. This collection aims to demonstrate that narrative plays a fundamental role within all three of these conceptual categories. The Hinchmans put it this way: As historians, social scientists, or (for that matter) prophets and bards weave narratives of the second order--stories that connect the individual mind to the social world--they create artifacts that soon take on a life of their own. These stories, told and retold, furnish the stock from which individual life narratives can be constructed. In other words, the story of an individual life usually plays off of one or more historically and socially transmitted narratives, which serve as prototypes of the elaboration of personal identity. Narrative theory is thus always implicitly a theory of how communities are formed and maintained, and how individuals are drafted into available social roles. (xxii-xxiii) [End Page 187]Each of the three major sections contains one or two theoretical essays, as well as two or three more that consider ways in which the concepts of memory, identity, and community play out in specific disciplinary contexts. For example, the section on community is introduced with MacIntyre's meditation on the relation of narrated selves to communities. It contains a theoretical essay by Edward M. Bruner on the malleability of community narratives, entitled "Ethnography as Narrative," and Walter Fisher's "Narration, Reason, and Community." Philip Abbott examines the use of narrative in political theory in an essay entitled "Storytelling and Political Theory," while Jim Cheney demonstrates the fruitfulness of communal narrative to environmental rhetoric in "Postmodern Environmental Ethics: Ethics as Bioregional Narrative." (Cheney's is the most intriguing piece in the collection).The editors introduce each section of the collection with brief essays that raise interesting questions. For example, introducing the section called "Memory," they ask: "Is the past something that can be reconstructed, on the basis of memories, or can it only be constructed?" and "Is there such a thing as prereflective, prenarrative, unemplotted experience, or does all experience possess at least an implicit narrative structure?" (1-2). Two of the essays collected under this head, David Carr's "Narrative and Real World: An Argument for Continuity" and Stephen Crites's "The Narrative Quality of Experience," are theoretical attempts to answer these questions. Other essays in this section investigate the role played by memory and narrative in the construction of specific discourses. W. Lance Bennett examines the role played by storytelling in criminal trials, and Misia... (shrink)

Reasoning may help solving problems and understanding personal experiences. Ruminative reasoning, however, is inconclusive, repetitive, and usually regards negative thoughts. We asked how reasoning as manifested in oral autobiographical narratives might differ when it is ruminative versus when it is adaptive by comparing two constructs from the fields of psychotherapy research and narrative research that are potentially beneficial: innovative moments (IMs) and autobiographical reasoning (AR). IMs captures statements in that elaborate on changes regarding an earlier personal previous problem of the (...) narrator, and AR capture the connecting of past events with other parts of the narrator’s life or enduring aspects of the narrator. A total ofN= 94 university students had been selected from 492 students to differ maximally on trait rumination and trait adaptive reflection, and were grouped as ruminators (N= 38), reflectors (N= 37), and a group with little ruminative and reflective tendencies (“unconcerned,”N= 19). Participants narrated three negative personal experiences (disappointing oneself, harming someone, and being rejected) and two self-related experiences of more mixed valence (turning point and lesson learnt). Reflectors used more IMs and more negative than positive autobiographical arguments (AAs), but not more overall AAs than ruminators. Group differences were not moderated by the valence of memories, and groups did not differ in the positive effect of narrating on mood. Trait depression/anxiety was predicted negatively by IMs and positively by AAs. Thus, IMs are typical for reflectors but not ruminators, whereas the construct of AR appears to capture reasoning processes irrespective of their ruminative versus adaptive uses. (shrink)

Situating narrative: philosophical and theological context -- Ethical being: the storied self as moral agent -- Reconciled being: narrative and pardon -- Pedagogies of pardon in praxis -- Towards a narrative pedagogy of reconciliation -- Ricoeur's legacy: A Praxis of Peace.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 371-373 [Access article in PDF] Book Review French Fiction in the Mitterrand Years: Memory, Narrative, Desire French Fiction in the Mitterrand Years: Memory, Narrative, Desire, by Colin Davis & Elizabeth Fallaize; 160pp. Oxford: Oxford University Press, 2000, $24.95. Like the Mitterrand era itself, Davis and Fallaize's French Fiction in the Mitterrand Years is somewhat uneven. The election of François Mitterrand in 1981 (...) as the President of the Fifth Republic was a milestone in modern French history. After the conservative politics of the 1960s and 70s, the election of a socialist president and legislature seemed to offer the possibility of a new political and intellectual atmosphere. Indeed, the first two years of Mitterrand's presidency brought sweeping reforms. However, several scandals, continued economic problems and later "cohabitation" with a right-wing legislative majority muted the original verve. Mired in partisan politics, the government often appeared ineffectual.As with the political arena, French fiction of the 1980s was produced under the shadow of another long-standing French institution--the nouveau roman. Again we find a new direction, a turning-away from the past during the 1980s. Yet there was no outright refusal. There were no manifestos or polemical articles written by budding novelists, no claim to Literature. As Annie Ernaux describes her work Une Femme (1987): "Mon projet est de nature littéraire [...]. Mais je souhaite rester, d'une certaine façon, au-dessous de la littérature" (My project is of a literary nature [...]. But I wish to remain, in a certain way, beneath literature (p. 144).This lack of pretension is important, for it helps us better understand the writing of the period. As Davis and Fallaize point out, in the fiction of the Mitterrand years we find a return to history, to the subject, and to storytelling, three areas disdained by the new novelists of the 1950s and 60s (pp. 12-15). But at the same time, there is not an elegiac return to the conventions of the past. There are no didactic tales of Lucien de Rubempré's lost illusions. A good example of this is Patrick Roegiers's Beau Regard (1990), the account of a dinner during which hardly anyone speaks, told by a narrator who knows no one else at the table. Davis and Fallaize note: "In these novels the event is merely an incident, the story no more than an anecdote, and the anecdote merely a fait divers" (p. 147). Although not inconsequential, argue Davis and Fallaize, there is an unquestionable modesty to these texts.In the introduction to their work Davis and Fallaize write: "The aim of the current book is to analyze some of the most important and interesting directions in French fiction through detailed discussions of a selection of texts, all published during François Mitterrand's period as President of the Fifth Republic (1981-95)" (p. 1). This is exactly what they accomplish, selecting six novels--Duras's L'Amant (The Lover, 1984), Pennac's Au bonheur des ogres (The Scapegoat, 1985), Semprun's La Montagne blanche (1986), Echenoz's Lac (Lake, 1989), Guilbert's A l'ami qui ne m'a pas sauvé la vie (To the Friend Who Did Not Save [End Page 371] my Life, 1990), and Ernaux's Passion simple (Simple Passion, 1991)--and spending one chapter on each. They also discuss some of the important features of the era's fiction including memory, especially of World War II, contemporary culture and postmodernism, and autofiction.However, the book's limited goal also leads to some of its problems. As a whole, the work lacks cohesion. Chapters often read like individual essays. Moreover, although some chapters are well-grounded critically and contextually, others are not. Finally, the conclusion is too brief to synthesize aptly the various topics discussed in the previous chapters. The reader does not have a solid grasp of the fictional landscape of the Mitterrand years, but rather, as the introduction indicated, knowledge of "some of the [...] interesting directions in French fiction."One of the most illuminating chapters considers Daniel... (shrink)

continent. 2.3 (2012): 218–223 Vijay Prashad. Arab Spring, Libyan Winter . Oakland: AK Press. 2012. 271pp, pbk. $14.95 ISBN-13: 978-1849351126. Nearly a decade ago, I sat in a class entitled, quite simply, “Corporations,” taught by Vijay Prashad at Trinity College. Over the course of the semester, I was amazed at the extent of Prashad’s knowledge, and the complexity and erudition of his style. He has since authored a number of classic books that have gained recognition throughout the world. The Darker (...) Nations , a peoples’ history of the Third World, sent defibrillating shockwaves through an academic world that had almost forgotten the epic scope and historic dignity of the non-aligned movement and post-colonial struggles. In his recent, award-winning work, Arab Spring, Libyan Winter , Prashad delves into his capacious knowledge of the Third World to excavate the discourses and narratives surrounding the upheavals of 2011. “Revolutions have no specific timetable,” states Prashad in the opening line of this exciting and provocative look at contemporary events. Instantly, an atmosphere of suspense emerges. The reader is alerted to the problem of history. Does the making of history then involve a suspension of historical time, or is it a continuous narrative structure into which events must eventually be integrated? Arab Spring, Libyan Winter shows that the answer to the question, “How is history made?” lies just as easily in the asking. The first half of the book works through the events that transpired to bring about the explosive popular uprisings of Arab Spring: Tunisia and Egypt, Yemen and Bahrain. But the events are not put together in a cohesive, chronological fashion. Using an uncommonly gripping style more akin to the folk-story motif of the djeli than to traditionally Orientalist academia, Prashad suspends a given situation, points out its components, and traces back the characters and genealogies that define each link before resuming a narrative. Every moment is an end to itself, and an origin of something different. Thus, the making of history becomes the suspension of its own progress, it’s catastrophic 'stability,' in a process of differentiation through inclusion. Empirically, one might suggest that history is a condition of time, and by extension, of the subject, but history is also an eminent producer of the Subject and her concept of time through memory and narrative. Hence, history is often overdetermined by a dominant narrative of the sovereign. The apparently chaotic composition of Prashad’s historicity is, then, an interstitial morphology of resistance. It illustrates that the time to act for the revolutionary lies in the gaps within the dominant historical realities. It points out the sorties of signifiers constituting nothing in the obliterated ruins of history. Through such illuminations, Arab Spring, Libyan Winter breaks through “the surface of history” to elaborate revolution’s snapping synapses, exploding interruptions and breaches, connecting flows. Messianic Politics It is tempting to think, 'History is either singular, or it is diffuse. It is either one coherent factual narrative, or it is comprised of the aletheia of the multitude.' Yet the reader finds Prashad examining the structure of history on multiple levels. For Prashad, world history is shaped by geographically defined political movements, such as communism or national liberation, with historical agents like the working class for the former and the nationalist militant for the latter. Religion, however, is another matter: “Religion has an unshakable eschatology which a post-utopian secular politics lacks.” Within the telos of religion, there appears on the horizon the image of Benjamin’s thoughts on messianic time—time as “a small fissure in the continuous catastrophe,” a break with history, may contain an ultimate redemption of the human beyond the political power struggle. Succoring the split between geo-political and utopian-religious (messianic) time in the context of Arab Spring, Prashad indicates that the base of “the deep desire and commitment to some form of democracy” is forged by the affinity between eschatological Islamist politics with the People. To think about the Subject of messianic time in the context of the lack of a “coherent timetable” for emancipatory politics, it is perhaps best to return to the modern tradition of Martin Luther King, Jr., whose prefigurative blending of liberation theology and emancipatory politics became most important during his works of 1963, the climactic year of “The Letter from a Birmingham Jail,” the March on Washington, and the bombing of the 16th Street Baptist Church. In “The Letter,” King states the point bluntly: Frankly, I have yet to engage in a direct-action campaign that was “well timed” in view of those who have not suffered unduly from the disease of segregation. For years now I have heard the word “wait!” It rings in the ear of every Negro with piercing familiarity. This “Wait” has almost always meant ‘Never.” We must come to see, with one of our distinguished jurists, that “justice too long delayed is justice denied.” The timing of rebellious action must not be a part of history. It must change history. The kairos appears spontaneous and untimely in its convulsive, shocking presence, yet it is, deeper still, a path, a longue durée , forged through diligent and rigorous praxis. King put a finer point on the path of historic liberation in his declaration in his 1963 speech at Western Michigan University: “[T]ime is neutral.... Somewhere along the way we must see that time will never solve the problem alone but that we must help time. Somewhere we must see that human progress never rolls in on the wheels on inevitability. It comes through the tireless efforts and the persistent work of dedicated individuals who are willing to be co-workers with God. Without this hard work, time itself becomes an ally of the insurgent and primitive forces of irrational emotionalism and social stagnation. We must always help time and realize that the time is always right to do right.” Time, then, exists in “the neutral,” while action must turn to the kairos , not only of taking time, but taking the right time. By turning our relation to time into kairos , we move time from its context within history to a duration between histories—the longue dure?e of Messianic time. The implementation of neutrality in this context suggests a broad space of time to extend through the valley of positive and negative. In Roland Barthes’s lectures from 1978, the neutral takes place in this minimal distance of non-conflict that exists outside of two extremes. It is, in the words of Maurice Blanchot, “the non-general, the non-generic, as well as the non-specific.” For Blanchot, the neutrality of time permeates life as death, impassive and beyond control; such is the neutrality of messianic time, which permeates the charge of history, changing the "I" into the "one." The neutrality of time therefore implicates history in a case against extremism, showing that the work of the radical is not to tend to any particular side, but to have the time to navigate through the terrible terrain of history by altering its course, its patterns and rhythms of movement, connection, sociality. Hence, one does not simply “make history,” one alters the course of history in accordance to “the right time.” The historical path toward emerging power is transmitted as a gesture to the outside of history, against history; a gesture as simple as reaching out. Thus a counterhistory, to use Foucault’s term, is brought forward as the guide of time past a point of no return, a Rubicon, the point where the normal path of history falls to the past. The subject, who must be the only true agent of history, facilitates time through helpfulness, and both the Subject and her history become decentered in relation to one another. Yet history negates the neutrality of time. As Barthes discloses, although the neutral is the “thought and practice of the nonconflictual, it is nevertheless bound to assertion, to conflict, in order to make itself heard.” Engaged with history, time is charged with a destiny, and becomes an opposition. As Prashad insists, “For Arab lands, the events of early 2011 were not the inauguration of a new history, but the continuation of an unfinished struggle that is a hundred years old.” The emergence of the Subject during Arab Spring did not conceive of a new history, but changed the path of history toward a different destiny. “Historical grievances combined with inflationary pressures now met with the subjective sense that victory might be at hand—this was not simply a protest to scream into the wind, but a protest to actually remove autocrats from their positions of authority. The facts of resistance had given way to the expectation of revolutionary change.” The negativity of this charge toward “revolutionary destiny” rendered control, as a positive force, seriously lacking. The lack of control lies in the problem that the Subject is not totally detemporalized or timeless, but untimely in her presence. The Subject is untimely, because her work is visionary, and it is only through such visionary work that the Rubicon can be crossed. Still, the crossing of this border is haunted by anxiety over an impending disaster that lays in wait. It is only through the form of what Benjamin calls divine violence, captivated not with the justice of the means, but the ends—the transformation of history—that a revelation of history’s traumatic foundations can be liberated, and patterns and rhythms of time developed throughout obscured traditions awakened. In this situation, the Subject appears to be outside of right, but setting the state to rights. Because her position is correct, in-so-far as the rebelling subject rebels due to a lack of recognition, her representation appears outside of the norm, which is mistaken as right. Therefore, such visionary work must be carried out through obscured traditions, underground, away from the surveillance of empire. Explaining his method from the start along the lines of Marx’s metaphor of the mole, Prashad insists, “It is the burrowing that is essential, not simply the emergence onto the surface of history.” Arab Spring, Libyan Winter is a book on uncharted networks of time, spread out over the 252 pages like an elaborate spider’s web of passages intertwining with and overwhelming the machinery of the state. Although untimely, Arab Spring was not a flash in the pan, or a Facebook or Twitter revolution. Prashad notes that the government’s suspension of these tools led to further radicalism by furthering communications through face-to-face encounters. In existential terms, Arab Spring might be thought of as a revolution of Being over techne , an uprising of the unchartable, infinite potential of the Other. The name of this Other is found in Chance. The faith of the revolution lies in the proper decentering of the subject, its giving to the Other of time, for only with respect to time does history actually appear on the horizon of the subject, rather than as an imposition. This time of historical agency appears as a moment when anything can happen—a revolutionary truth event where everything comes into question while being realized in its Otherness as a community of the people begins anew in the streets amidst discourse, friendship, reconfigurations of hegemony, and a becoming of a constituent power. Throwing a wrench into the gears of the “cobwebbed tradition” of Orientalism, the decentering of history in Arab Spring, Libyan Winter is a defining quality of its impassioned revolutionary cry. But perhaps the most paradigmatic points of the book emerge from the unexpected voices. To make the connection between the particular manifestations of revolutionary demands to the general historic terms of revolution, Prashad quotes an anonymous young Egyptian in Tahrir Square, who reminds us, “[T]he French Revolution took a very long time so the people could eventually get their rights.” Far from timelessness, the historicization of Arab Spring must exist precisely within the most uncanny appearance of time, as something that does not appear to come from the natural state of time as we know it, but in arriving has completely transformed the way that we understand time. Strange Monsters Revolution is never as simple as a revolt from below against a rusting structure of elites trying to remain in power. As with the French Revolution, Arab Spring consisted of complex familial ties, outside interests, and religious factions fighting alongside, often in awkward juxtaposition to, liberals, working class parties, farmers, and students. It is perhaps because of this historically difficult and incongruous composition that the Arabic word for revolution is thawra , referring to the image of the bull, or thawr , which has religious significance as a pagan deity for the Ancient Semitic tribes and Cartheginians. If Daniel Guérin was correct in saying, “Anarchism and Marxism drink from the same spring,” then it is quite a different oasis that drove the thirsty beast of revolution through what Prashad calls, “the Libyan labyrinth.” Recalling Bataille’s Acéphale, the intestinal labyrinth gains significance as the mode of metabolism and rumination in which, “(the Acephale) has lost himself, loses me with him, and in which I discover myself as him, in other words, as a monster.” Unraveling the discourse of the revolution, the flows of power and hegemony—from Qaddafi’s nationalist coup in 1969 to the wars with Chad from 1978 to 1987, the neoliberal reforms of the 1990s to, finally, the War on Terror—we find that the metabolic process of Libyan Winter ends in the production of oil. In a process of what Prashad calls “involution,” Qaddafi’s bellicose policies, along with his attempts to nationalize Islam together with oil, mutated the source of his power, turning his house against itself. Already a divided nation, with its two major cities on opposite geographic sides of the country, Libya became split between two opposed political powers—liberal reformists and staunch nationalists—as Qaddafi’s political disengagement manifested through what can only be described in psychoanalytic terms as a recursive passage a l’act (mysteriously calling Wikipedia “Kleenex,” declaring that opponents drank hallucinogens with their instant coffee, and so on). Prashad declares, “The mercurial style that Qaddafi adopted was not about his personality alone, but also a leader’s natural response to a system that relied upon power brokers whose own loyalty… did not have any ideological commitment to the system.” As in the case of other nations during Arab Spring, the true expression of revolt was an outward exposition of what had inwardly been happening in microcosmic societies throughout the realm—from indigenous tribes to political parties, for a century, the people, partly motivated by (and in resistance to) economic impositions of development, had been changing the traditional social compositions and participating in what Ruth Wilson Gilmore calls, “the relative autonomy of the movement from the leaders.” It was this empowerment of political reconfigurations taking place under the context of new democratic assemblages that shocked the elites and evoked such a powerful response. Unlike Qaddafi’s awkward policy choices and rants, real acts of power from the West were clear and decisive. Prashad sets the stages of war and diplomacy, far removed from the deserts, mountains, and cities that forged the backdrop of popular politics. Taking place under the now-classic architecture of the “four pillars” of US interests—oil, the War on Terror, Israel, and the circumvention of Iranian hegemony—we find elites rubbing elbows in “Heliopolist cocktail parties and hushed conferences in Kasr al-Ittihadiya” as well as the Concorde-Lafayette hotel in Paris, which provides the setting for a meeting of anti-Qaddafi figures consolidating their power. These scenes are buttressed with the careful portraiture of key historical actors. As Prashad brings the stage of history to life, we find the diplomats and liberals like Frank Wisner, whose career has brought him from Enron in the late 1990s to the Obama Administration, under the aegis of which he was meeting with Mubarak about military support during Arab Spring. We spy the provocateurs, for instance, gauche cavalier , Bernard Henri-Levy, who telephones Sarkozy from Benghazi about the need for more NATO air strikes. We follow the rebel military establishment as it suffers mysterious deaths and even more mysterious assents (like that of apparent CIA cohort, Khalifa Hifter). In each of these intriguing characters, we find different representations of the security state biopolitique: an oil-injected reification that drives Arab Spring from the resentment of rising food prices to the brink of implosion in Libyan Winter. Reminiscent of the scenes of Cold War soirées represented in old Bond films, the aristocratic fight for oil against democracy that was Libyan Winter presents a harsh truth that the new global crisis is simply the continuation of the old history: the global exploitation of capitalism waged against the imagination of the people. As Benjamin laments, “The labyrinth is the right path for the person who always arrives early enough at his destination. This destination is the marketplace.” Yet, “(t)he labyrinth is the habitat of… a humanity (a class) which does not want to know where its destiny is taking it.” Thus, the labyrinth leads, like the desert, only further into itself. As Blanchot explains, “The desert is even less certain than the world; it is never anything but the approach to the desert.” Only the visionary can take time out of the involution toward oblivion. It is here, in this approach to and escape from history, that we find ourselves within Benjamin’s Golgotha, Blanchot’s desert: A space of indeterminate uncertainty where we become familiar only with our own exile. Blanchot writes, “For the moderated and moderate man, the room, the desert, and the world are strictly determined places. For the man of the desert and the labyrinth, devoted to the error of a journey necessarily a little longer than his life, the same space will be truly infinite, even if he knows that it is not, all the more so since he knows it.” The desert, as allegory, provides an eschatology, a mortality in the destiny of Arab Spring. But any allegory of nature might lead to a labyrinthine eschatology (for example, in Bachelard, the forest presents "a limitless world"); the prescience of the untimely is always an uncanny acceptance of the infinite within the finite—the outside of what is understood. Transgenerational and occupied with the image of the future, the untimely makes otherness its home as it proceeds toward liberation. In the work of helping time navigate this dangerous passage of history, Prashad illustrates that the more violent break with history may have occurred in the peaceable struggles of Tahrir Square, and not in the military clashes of Qaddafi with his former Generals who defected to the CIA and NATO countries. It might be possible to suggest, then, that in the case of Tunisia and Egypt, the historical subject of the people was drawn together in a Dionysian dance of different rhythms in the marvelous realm of the ancients, while we fear that the case of Libya suggests an Apollonian future where time, itself, may lay dying under the machinic hand of history. The properly Nietzschean inversion would follow: time is dead, for history has killed it. Yet, if time is dead, struck down in Golgotha, exposed in the desert, mauled by the thawra , it is only in the present sense that it is rendered impossible outside of the context into which the untimely has thrown us. Thus, if history becomes an art of revolution, life as being-towards-death (death as the provocation of the neutrality of time) becomes what Benjamin calls “the allegory of resurrection” through the glorious ruins of history. Prashad ends his work with a rousing finale: “The time of the impossible has presented itself. In Egypt, where the appetite for the possibilities of the future are greatest, the people continue to assert themselves into Tahrir Square and other places, pushing to reinvigorate a Revolution that must not die… For them the slogan is simple: Down with the Present. Long live the Future. May it be so.&rdquo. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.1 (2005) 23-24 [Access article in PDF] Schechtman's Narrative Account of Identity Grant Gillett Keywords personal identity, narrative self, memory I have long been an admirer of Schechtman's sensitive and psychologically realistic account of personal identity. In the present piece, she addresses the issues surrounding personal identity through Locke's view and problems attending that view and the psychological continuity theories descended from it.She examines (...) the claim that the person is more extensive than the conscious mind and includes aspects of nonconscious mental activity. Schechtman argues that one must have a self-conception that includes a trajectory where present experience unfolds meaningfully out of one's past replete with implications for what one does and how one does it. She locates, in current writing on the self, the idea of a perceiver or narrator self who tries to make sense out of herself as a human being with certain thoughts and feelings and is sometimes at a loss to do so. To this potentially very rich starting point we need only add the fact that a person draws on discursive and narrative skills that have been inscribed in her being to do this narrative, editorial, and judicial task and that many of these skills have been imbibed with mother's milk (and father's voice). From this discursively inscribed set of resources and orientations arise guilt, shame, pride, aspiration, vulnerability, and that crucial sense of who one is as a person among others.It follows that here we might also find the source of the discontents that induce a person to apply to a psychiatrist or counselor for help with the narrative work required to fashion a liveable self. If Schechtman is right, the cognitive capacities contributing to memory and "keeping track of oneself"(in a deep and satisfying way) are to be found in part in the nonconscious domain rather than the thin layer of consciousness and propositional attitude psychology that enters the mind of an analytic philosopher or a psychiatrist uninterested in depth.I think she is right and that this paper and her more extensive work on the constitution of self represent a fertile point at which psychiatrists and psychotherapists can begin the task of understanding the nature of identity and the challenges involved in finding one that will serve the unfolding project of understanding and forming the self. I believe that the resources that individuals need for this task are derived from one's rootedness in culture and human relationships where the levels of self that support consciousness can be nurtured according to what Michel Foucault calls the techniques proper to the care of the self. Schechtman has done us a favor in taking the debates surrounding neo-Lockean [End Page 23] views of personal identity and outlining a perspective on identity and memory that can lead us to develop our understanding of the complexity of the human psyche as it roams through the jungle/jumble of discursive life and tries to nourish itself on what it finds there.Grant Gillett is a Professor of Medical Ethics at the University of Otago in Dunedin, New Zealand. He is also a practicing neurosurgeon. His philosophical work is in philosophy of mind and psychiatry, continental philosophy, and bioethics. His most recent books are The Mind and Its Discontents (Oxford University Press) and Bioethics in the Clinic (Johns Hopkins University Press). He works on postmodern and traditional analytic approaches to mind, language, and psychiatry. He can be reached at Dunedin Hospital and Otago Bioethics Centre, University of Otago Medical School, PO Box 913, Dunedin, New Zealand, or via e-mail at [email protected].... (shrink)

Recent work on distributed cognition and self-narrative has emphasised how autobiographical memories and their narration are, rather than being stored and created by an individual, distributed across embodied organisms and their environment. This paper postulates a stronger form of distributed narration than has been accommodated in the literature so far, which I call narrative deference. This describes the phenomena whereby a person is significantly dependent upon another person for the narration of some significant aspect of their own autobiographical self-narrative. I (...) suggest that a person is more likely to narratively defer where they suffer a mnemonic impairment regarding some significant adverse life experience like trauma, illness or injury. Following a recent turn in the literature towards investigating the harmful aspects of distributed cognition as well as its many advantageous features, this paper explores how the benefits of autobiographical self-narrative deference within close personal relationships are complexly related to its harms. (shrink)

Introduction : cinema, memory, modernity: the return of memory as film -- No escape from time : memory and redemption in the international postwar art film -- The "crisis" of memory : "traumatic identity" in the contemporary memory film -- "Global memory" : cinema as lingua franca and the commodification of the image -- The eye of history : memory, surveillance and ethicality in the contemporary art film -- "Prosthetic memory" and transnational (...) cinema : globalized identity and narrative recursivity in City of God -- Conclusion: remembering to forget: the catachreses of modernity. (shrink)

This study analyses of the Living Memorial: a counter-monumental installation located since 2014 in the highly contested Szabadság (‘Liberty’) Square in central Budapest, Hungary. The focus on the LM allows showcasing it as a unique type of commemorative installation that not only contests the current Hungarian top-down, hegemonic narrations and practices of memory but also counteracts the country’s politicised and ideologised narrations of the past. The LM is explored as a dialogical ‘nexus’ of, on the one hand, individual, lived (...) experiences of the Holocaust in Hungary in 1944–45 and, on the other, of the wider historical and contemporary socio-historical narratives as well as commemorating practices. Presented in the article – and set against the wider input from memory and commemoration research – the systematic, discourse-ethnographic analysis of the Living Memorial links its discursive and visual as well as spatial aspects with the exploration of various types of spectator engagement. In doing so, the article connects the wider context of memory and commemoration in the national and city spaces – and specifically in the often strongly politicised capital milieus – to the specific, localised contexts of ‘commemorative battlegrounds’ wherein ‘official’ displays of memory clash with, and are opposed by, their bottom-up, counterhegemonic contestations. (shrink)

When we remember a past situation, the emotional import of the latter often transpires in a modified form at the phenomenological level of our present memory. When it does, we experience what is sometimes called an “affective memory.” Theorists of memories have disagreed about the status of affective memories. Sceptics claim that the relationship between memory and emotion can only be of two types: either the memory is about a past emotion (the emotion is part of (...) what is remembered), or it causes a present emotion (the emotion is a separable effect of the memory). We argue that there is a third option, which points to an emotional way of representing the past situation. Drawing from Peter Goldie’s account of mental narratives, we show that three levels of mental perspective are involved in memories: the perspective of the represented subject (the character, if there is one), the perspective of the representing subject (the author), and the intermediary perspective of the narrator (who may remain virtual). Affective memories are cases in which the narrator’s emotional perspective has direct implications for the author’s emotional perspective, even if the former typically differs from the latter. (shrink)

Using insights from two of the major proponents of the hermeneutical approach, Paul Ricoeur and Hannah Arendt—who both recognized the ethicopolitical importance of narrative and acknowledged some of the dangers associated with it—I will flesh out the worry that “narrativity” in political theory has been overly attentive to story telling and not heedful enough of story listening. More specifically, even if, as Ricoeur says, “narrative intelligence” is crucial for self-understanding, that does not mean, as he invites us to, that we (...) should always seek to develop a “narrative identity” or become, as he says, “the narrator of our own life story.” I offer that, perhaps inadvertently, such an injunction might turn out to be detrimental to the “art of listening.” This, however, must also be cultivated if we want to do justice to our narrative character and expect narrative to have the political role that both Ricoeur and Arendt envisaged. Thus, although there certainly is a “redemptive power” in narrative, when the latter is understood primarily as the act of narration or as the telling of stories, there is a danger to it as well. Such a danger, I think, intensifies at a time like ours, when, as some scholars have noted, “communicative abundance” or the “ceaseless production of redundancy” in traditional and social media has often led to the impoverishment of the public conversation. (shrink)

The present paper addresses Aeschylus, and the way he wanted to be remembered by his fellow Athenians and the other Greeks. Having lived from 525/524 until 456/455 BCE, Aeschylus experienced the quick transition of his polis from a small city-state to a leading political and military force to be reckoned with throughout the Greek world. The inscription on his gravestone at Gela, Italy, commemorates his military achievements against the Persians, but makes no mention on his enormous theatrical renown. His plays (...) were so respected by the Athenians that after his death, his were the only tragedies allowed to be restaged in subsequent competitions. And yet Aeschylus, when time came to describe himself and the work of his lifetime, mentioned exclusively his contribution in the fight against the Persian Empire as an Athenian. Triggered by the poet’s narrative on his most memorable moment of his life, the present paper seeks to shed some light on the Athenian political identity, emerged during and soon after the Persian Wars, which not only derived from the newly-established democratic constitution of the late sixth century, but also supported it. Aeschylus’ epigram as well as some particular plays of his, narrates the confidence, the solidarity and the feeling of equality the Athenian citizens shared in regards to the defence of freedom of their polis as well as of all Greece, which came above anything else in their life, meaning above noble lineage and wealth. The gravestone of the poet stresses, in other words, how it felt like for an Athenian to live during the emergence of the very first Democracy that progressively supported the claim of Athens to become a ruler in the Aegean, by constructing its naval "Empire", ideologically upon the commemoration of the victory of the Athenian Democracy against the tyranny of Persia at Marathon and Salamis. (shrink)

Buddhism and Jainism share the concepts of karma, rebirth, and the desirability of escaping from rebirth. The literature of both traditions contains many stories about past, and sometimes future, lives which reveal much about these foundational doctrines. Naomi Appleton carefully explores how multi-life stories served to construct, communicate, and challenge ideas about karma and rebirth within early South Asia, examining portrayals of the different realms of rebirth, the potential paths and goals of human beings, and the biographies of ideal religious (...) figures. Appleton also deftly surveys the ability of karma to bind individuals together over multiple lives, and the nature of the supernormal memory that makes multi-life stories available in the first place. This original study not only sheds light on the individual preoccupations of Buddhist and Jain tradition, but contributes to a more complete history of religious thought in South Asia, and brings to the foreground long-neglected narrative sources. (shrink)

The trend to centralization of the Mizrahi narrative has become an integral part of the nationalistic, ethnic, religious, and ideological-political dimensions of the emerging, complex Israeli identity. This trend includes several forms of opposition: strong opposition to "melting pot" policies and their ideological leaders; opposition to the view that ethnicity is a dimension of the tension and schisms that threaten Israeli society; and, direct repulsion of attempts to silence and to dismiss Mizrahim and so marginalize them hegemonically. The Mizrahi Democratic (...) Rainbow [The Keshet], the most prominent proponent and representative of this trend, was established in the 1990s with the intention of being a leading civic and political body in Israeli society. While it was the Mizrahi worldview that led to selection of the organization's name and aims, their vision was to be involved in social struggle on behalf of other groups in Israeli society. Since it was established, The Keshet has aimed to function as an assertive, long-term alternative coalition exerting influence, power, and pressure on the Israeli narrative network. And, indeed, the organization has succeeded in disrupting Israeli discourse, principally, by challenging the ideological foundations of the Zionist meta-narrative. Nearing the end of the first decade of the 21st century and nearly a decade since it was established, The Keshet not only represents the most current wave of Mizrahi discourse, it has changed it to such a great degree that it is impossible to ignore its influence. Further, this alternative narrative may have significant potential to advance the internal Jewish discourse so fundamental at this time given the changing Israeli situation and regional conditions. And, while it is possible to view The Keshet and this new narrative as a continuation of the Mizrahi struggle, as a narrative The Keshet's agenda represents a post-colonial perspective and multi-cultural alternative to Zionism as a social vehicle. Amidst all of this, The Keshet continues to offer concrete proposals to change the Jewish character of the state as well as its internal and external relations. One of the primary goals of this study was to examine the rise of the Mizrahi narrative over the last two decades and the new Mizrahi discourse in Israeli society. More specifically, the study sought to attain an in-depth understanding of the central narrative created and represented by The Keshet. An additional goal was to investigate the influence of The Keshet's activity and the narrative it constructed in regard to other narratives. In particular, the study focused on The Keshet's opposition to the central Zionist narrative that infuses civic, political, and academic frameworks in Israel. Accordingly, the primary research questions investigated in the study sought to determine: What has been the influence of the Mizrahi Democratic Rainbow on the Mizrahi narrative in Israel? And, what are implications of such influence for the central Zionist narrative? Methodologically, the study was based on narrative and comparative analyses of texts from different periods of the older and newer Mizrahi narratives. The corpus included two types of texts: First, academic texts and opinion pieces, both philosophical and programmatic in nature, published in magazines, journals, books, as well as position papers; second, all of the texts published by prominent and influential figures who charted the path of The Keshet or led it organizationally and/or intellectually over the last twenty years (e. g., Yehudah Shenhav, Yossi Yona, Moshe Krief among others). All texts were examined by means of philosophical, historical and critical hermeneutic tools. This analysis revealed different levels of Mizrahi and civic discourse in Israel as well as among The Keshet's founders and leading ideologues. The study was based on a three stage process model, developed for purposes of this study, for investigation and analysis of the new Mizrahi narrative as well as other oppositional narratives, in particular opposition to the hegemonic meta-narrative. The stages are: issuing the challenge, dissolution and, liberation; that is, liberation is the measure of the ultimate success of the struggle for narrative change. Such change is not based on success in the field, but rather on a radical, fundamental reversal of thought, discourse patterns, stylistic structures, as well as forms of questioning - in this case of taken-for-granted racist mechanisms. However, the principal change is in achieving a deep, inner de-legitimization of the signifiers, categories, and reproductions of all manner of mockery that are based on immoral colonialist processes that are reinforced by regimes of fear and intimidation whose self-destruction began upon their very creation. This three stage model charts the course of the oppositional Mizrahi narrative from: accounting for the past (passing judgment on the so-called historic colonialist Zionism) to writing a new (pure Mizrahi) history and creation of a Mizrahi-Arab identity separate from the Ashkenazic, identified as Zionist. Contemporary post-colonialist discourse is integral in these stages. Such a perspective has been transformed by transitions from - binarism to hybridity, Orientalism to Occidentalism, the politics of "liberation" to "constructive" politics, from the history of consciousness to the history of change, as well as from nationalist to post-nationalist questions. Fundamentally, according to this approach, political and other struggles for the emerging narrative of Mizrahi (or Arab) history seek to centralize it in society and weave it amidst the models of multiculturalism. Undertaken in parallel, the central characteristics of all these stages are borrowed from countries in which the need for national reconciliation led to renunciation of apartheid and racist policies and historical judgment of the hegemony supported by racist leaders. In addition, these three moves were undertaken in Keshet and its ideologues by means of substantive symbolic violence directed at the hegemonic Ashkenazic discourse, which included creation of hatred of it, use of stereotypes the opposite of oppressive discourse, and adoption of an arrogant point of view toward it. This stands in stark contrast to the claims of the self-proclaimed new Mizrahi stance of a discourse established on purely ethical grounds that sought to cleanse itself of these very same oppressive elements. The model developed for and demonstrated in this study allows for analysis of oppositional narratives in which the libratory stage evolves into a form of entrapment, as appears to be occurring to the new Mizrahi discourse. This conclusion is based on the observations shared by many Keshet proponents including leading intellectuals who worked on the manifestos that were the subject of criticism from the Zionist camp. The study identified and defined the following six interwoven strata, which for purposes of explication are each discussed in a separate chapter: The first chapter presents a general theoretical discussion of the issue of the narrative and the inter-narrative struggle that has become central and applicable in various ways in the latest generation (e. g., anthropologically, hermeneutically, and philosophically). The analysis surveys different discussions in the inter-narrative struggle and locates them in the contexts, relations, and meanings derived from, representing, and indeed reproducing the narrative of national identity. The second chapter includes a historical survey of the older Mizrahi struggle that existed prior to the ascendance of the new Mizrahi narrative. Initially, Mizrahi discourse focused on expressing the ethnic protest that grew in years to follow. These feelings of discrimination and social distancing of the immigrants from Islamic countries gave birth to expressions of protest, the most prominent of which were Wadi Salib and the Black Panther Movement's various activities. The research literature contains many explanations for the exacerbation of the ethnic problem and creation of a situation that could not be ignored. The consensus academic view reached at the end of the 1970s identified a number of primary factors for this situation: the existence and extensive numbers of different ethnic groups; the relative or absolute segregation of frameworks within which members of these ethnic groups lived and acted; and the significant overlap between socio-economic status and feelings of discrimination retained by members of the Mizrahi group due years of neglect by the Ashkenazic establishment, the strengthening of Mizrahi social, cultural, and political power, as well as the emergence of a Mizrahi elite that identified with Mizrahi problems. The severe consequences of feelings of discrimination were expressed in a long series of events, such as: rioting by residents of the Rehovot Sharayim neighborhood in 1956; events of Wadi Salib in Haifa in 1959; and a chain of activities involving the Black Panthers in the 1970s. Protest was also an aspect of the "tent movement" in the 1970s and 1980s. Political activities were advanced by the Tami Movement that competed in the election for the 10th Knesset in 1981 and the Shas Movement that has continued to garner political power since being found in 1984. The 1980s and 1990s were characterized as the era of radical consciousness of Mizrahi discourse as well as by the rise to power, in consecutive order, of the political parties – Tami, Shas, and the Mizrahim HaHadashim [the New Mizrahi]. The latter party laid the foundations of the new radical Mizrahi discourse from which emerged such cultural activities as: Iton Aher [A Different Newspaper]; Bimat Kivon Aher [Another Direction Forum]; Efir'yon journal; the Halah Organization for Education in Neighborhoods, Development Towns, and Villages; Kedma; the newspaper – Patish [Hammer]; and, eventually the establishment of Keshet. The third chapter presents an examination of the materialization of the inter-narrative struggle in the case of Israel, with a specific focus on The Keshet and the new Mizrahi narrative advanced by it and intellectuals. The Keshet ideology is examined in the context of its grounding in post-colonial thought, especially that of Edward Said; the directions proposed by Ella Shohat and her followers; the central thinkers of the narrative in Israel in the last decade; and the harsh critique leveled at the Ashkenazic-Zionist narrative. The practical steps proposed for implementation within the multicultural model are also examined. Here the effort to reduce the centrality of Zionism while revealing its oppressive mechanisms was undertaken in parallel with use of these mechanisms in order to create a Mizrahi space with broad margins inclusive of alternative forms of Israeli identity in the Middle East and in conjunction with Arabs within and beyond Israel. Mizrahi traditionalism is examined in the fourth chapter in two particular respects. First, the criticism of the new Mizrahi narrative leveled by the renewed view and, second, the implications of the alternative in terms of creating a Mizrahi space that does not oppose Zionism. Rather, in opposing the post-colonialist perspective, this renewed traditionalist perspective criticizes as well as values Zionism. This space seeks to be both Jewish and Mizrahi. It does not detach itself from nationalist Zionism but rather views itself as a continuation of this tradition and, accordingly, is an effort to develop a next stage in its development. For example, an essential dimension of the traditionalist perspective, "commitment," is considered in this stage to be a fertile basis for dialogue with the past and as an anchor for contemporary interpretation of Mizrahi and other Jews' identities in Israel. The fifth and sixth chapters deal with all of the vectors of criticism directed at the new Mizrahi narrative, including its ideological foundations, philosophical stance, as well as intellectual and practical basis in the Israeli sphere in the face of Palestinian nationalism. These vectors of criticism from within and beyond The Keshet deal with issues, such as, the meaning of the movement's activities and the narrative that it offers regarding questions of Israeli identity, Israeli collective memory, and Mizrahi self-perception. At the same time, it must confront the capitalist neo-liberal narrative in a global world and thrive in a context in which it must make itself manifest amidst oppositional narratives. The final chapter presents a comprehensive, critical analysis of the new Mizrahi narrative. It does so by means of a theoretical model that examines it as an oppositional narrative – one that seeks to challenge the hegemonic meta-narrative, to dissolve the boundaries of the narrative discourse, and to propose liberation and redemption that may led to entrapment amidst a changing, a-dichotomous realities (e. g., global economic development in the face of Zionist nationalisms that display ideological strength as well as development of the sense of being an Israeli that maintains its vitality and continuity while being constituted by sectors that challenge being a Mizrahi, such as co-ethnic subjects. The Keshet's influence is dramatic and extends in a number of central directions. Its political activity and non-entry into the domains of the Israeli parliament granted the movement significant power in civic discourse and contributed to changing the persona of the Mizrahi discourse; for example, from political-party struggles over budgets and obtaining shares of the regime to changing the face of Israeli society and the centrality of the Mizrahi narrative. This change included deconstructing the Ashkenazic narrative and constructing comprehensive Ashkenazic-Zionist guilt, as evident in the Ehud Barak's request for collective forgiveness. This was accomplished through the participation of leading members of Keshet who appeared in prominent intellectual forums and engaged in lively discourse - principally in academic, social, and media domains. Such participation gave new meaning to various aspects of Israeli society while establishing different models of multiculturalism. The rise of the new Mizrahi narrative is a significant marker in the inter-narrative struggle as it represents a desire for separate or hybrid identities. And, the deep probing of the narrative constructed by leaders of The Keshet and those who identify with the movement produced a number of clear ways to distinguish it from the old Mizrahi struggle, whose history was portrayed through social protests, in a manner similar to linear vectors marked with wars and elections. The old Mizrahi struggle selected the traditional tactical struggle identified usually with social and political movements that seek to change political, social, and economic reality - from the bottom up. Their primary demand was to change decisions as well as the division of social goods and resources. Hence, this older period of struggle was not aimed at opposing the ideological foundations of the hegemonic narrative nor did it seek to undermine in a radical manner the unique nature of the state of Israel as a revolutionary solution for the problems of the Jews according to the Zionist approach, as a national home for the Jewish people, and recognition of the right to an preferred and meta-definition of Jewish nationalism. In contrast, the top down struggle advanced by the new narrative is part of an ideological movement led by the educated that is assertive and ground in post-colonialist theory. Accordingly, it was critical of the techniques and mechanisms of oppression as well as sought to attack the Zionist ideological foundations and to reveal its racist operations and the regimes that have preserved it so efficiently for many years. The uniqueness of this narrative is the intellectual offensive that continues to be advanced and, in parallel, development of the discourse struggle in Israel concerning the justification for Zionism and the concrete political proposal that Jews reject the taken-for-granted status of it as an ideology. This new narrative recognizes the historic difficulties of subversion as an emancipatory and, principally, moral effort. In addition, the new Mizrahi narrative shares the foundations and narrative of Palestinian victimization. In its radical version, the new Mizrahi narrative seeks to connect to the Palestinian narrative in order to create a new space here. According to this version, this action will take place gradually. The first stage will be characterized by opposition to Western European, Ashkenazic Zionism. The Eurocentric Zionism will surrender in the second stage, to be followed in the last stage by creation of a coalition of Jews and Arabs that will be establish through concrete actualization of the refugee status and victimization that is shared by both Palestinians and Mizrahim (whether as Mizrahim or Jewish-Arab). Not a speculative academic exercise, the goal sought by this narrative is delineate and to achieve a multicultural model in which equality, liberty, and social justice will overcome the nationalism and colonialism of either side; that is it will be neither Zionist nor Jewish. Thus, this approach stresses what is shared (e.g., acceptance of the Arab space and not a rejection of it; the legitimacy of the Arab language and culture). This is part of detachment from and historic judgment of the colonialist Zionist enterprise. This possibility includes moral elements that remove the evil and harm caused by Zionism for many years as well as inner cleansing – primarily among Ashkenazim – of attitudes towards Jews and non-Jews. Though, in this regard, it should be noted that, to date, the new narrative has not made similar claims that Palestinians undergo a similar process. The assumption seems to be that this should be tested, that the coalition proposed is a possibility that will be recognized by the Palestinians, and that they are prepared to undergo a similar, shared moral process that involves negating the state of Israel as a Jewish, Western state, a state of the Jewish people, and not only for those who live within it. These Mizrahi thinkers conducted a significant move through deconstruction and substitution of the Eurocentric narrative with a multi-cultural proposal that is optimistic and even attractively naïve. Today, they acknowledge that they did not take into account Palestinian nationalist violence directed to citizens, the traditionalist alternative, and widespread opposition within the Mizrahi community toward what is perceived to be Mizrahi seclusion. They also did not take into account the harsh criticism rendered by young and educated Mizrahim who claim that they were born into a complex, multi-dimensional, multi-layered identity that includes internalization of the language of the West and rules of the game of this complex identity. And, though they are critical of some of its values, this makes it difficult to mount internal emotional opposition to the West and to the globalization contained within this world. Hence, this more familiar world is preferred over the values of the Mizrahi-Arab alternative, particularly in regard to problems in the domains of democratic citizenship, stance taken toward women, and freedom of speech. Further, educated Mizrachim reject the post-colonialist perspective and are stridently critical of its dichotomization. They claim that such a division is irrelevant in a world in which older ideologies have collapsed and new spheres – such as cyberspace and others – are open to them in which they can present themselves with an Israeli identity that is not categorized as necessarily Mizrahi. (shrink)

Omar Rivera’s Delimitations of Latin American Philosophy: Beyond Redemption is an important contribution to the interpretation of central figures and questions of the Latin American philosophical tradition, particularly Peruvian Marxist José Carlos Mariátegui and questions of identity and liberation. Rivera establishes productive dialogues between foundational figures such as Simón Bolívar, José Martí, and Mariátegui and decolonial thinkers like María Lugones, Aníbal Quijano, and Gloria Anzaldúa to posit delimitations of Latin American philosophy that might allow it to move beyond redemptive logics (...) that essentialize identities and reinscribe oppressions in narratives of liberation. This review explores the central arguments of the book and proposes a philosophical and a political issue that emerges from them. (shrink)

In Time and narrative then in Oneself as another Paul Ricœur proposes a philosophy of personal and collective identity, through research on time and narrative. According to these books, emplotment would synthesize and reconcile the temporal discordance, experienced by the selfhood. The subject’s fragmentation by the otherness of time could then define vulnerability. Our aim is to question this triad time-vulnerability-narrative thanks to the opposite positions of Emmanuel Levinas. Unlike Ricœur, Levinas severely criticizes the idea of memory and narrative (...) in order to respect the vulnerability of the other. Yet, the Ricœurian analysis of the responsibility affirms the need for a capable and not dispossessed Self. From this point of view, Ricœur helps us to question the limits set by Levinas to narrative and leads us to wonder if the ethical plot for the vulnerability of others does not need memory and narrative. (shrink)

Three female physicians were interviewed as part of a comprehensive investigation into the narratives of female and male physicians and nurses, concerning their experience of being in ethically difficult care situations in the care of elderly people. The interviewees expressed great concern for the low status of care for elderly people, and the need to fight for the specialty and for the care and rights of their patients. All the interviewees’ narratives concerned problems relating to perspectives of both action ethics (...) and relational ethics. The main focus was on problems concerning the latter perspective, expressed as profound concern and respect for the individual patient. Secondary emphasis was placed on relationships with relatives and other professionals. The most common themes in an action ethics perspective were too little treatment and the lack of health services for older patients, together with overtreatment and death with dignity. These results were discussed in the light of Løgstrup’s ethics, which emphasize that human life means expressing oneself, in the expectation of being met by others. Both Ricoeur’s concept of an ethics of memory and Aristotle’s virtue ethics are presented in the discussion of too little and too much treatment. (shrink)

Resumen: El presente artículo revisa los usos de la figura del testigo en dos novelas chilenas de reciente publicación: La dimensión desconocida de Nona Fernández y Monte Maravilla de Miguel Lafferte, ambos relatos cuyas tramas están basadas en casos, lugares y personajes históricos reales relacionados con violaciones a los derechos humanos en Chile durante la dictadura pinochetista. En ambos casos, la figura del testigo es compleja e intrincada, ya sea porque es un victimario arrepentido, una niña que se convertirá en (...) la narradora del futuro o un fantasma que resulta ser real. De paso, y a la luz del testigo como figura articuladora común tanto para el derecho como para la literatura, el artículo quiere reflexionar acerca de las posibilidades de los procesos judiciales, en tanto narrativas, como fuentes de memoria colectiva para dar cuenta del horror. El rol del testigo resulta clave en ambos campos discursivos: mientras en los procesos judiciales el testigo es el sujeto de la enunciación del testimonio y, con ello, elemento de prueba en la determinación de responsabilidades, en la literatura el testigo tiene implicancias tanto narratológicas como éticas importantes, las que le proporcionan una riqueza al testimonio que lo vuelven una forma eficaz de memoria que más que contar lo sucedido, se acerca a mostrarlo.: This article reviews how the witness figure has been used in two chilean novels that have been recently published: La dimensión desconocida, from Nona Fernández and Monte Maravilla, from Miguel Lafferte. Both script plots are based in real cases, places and historical characters, related to Pinochet´s dictatorship. They present a complex and intrincate witness figure, through the form a regretful torturer, a girl who will be the future´s narrator or a ghost that happens to be real. Meanwhile, in light of the witness understood as an common articulating figure for the law, as well as for literature, the article wants to reflect on judicial processes posibilities, while narrative, as colective memory sources that can be held accountable for the horror. The witness role turns out to be essential in both discourse fields: meanwhile in judicial procesess the witness is the subject of the testimony enunciation and, as such, an evidence element for criminal liabilities determination, in literature, the witness has important narrative as well as ethics implications, wich give such richness to the testimony, that it becomes an effective way of memory that not only narrates what happened, it closes to show it. (shrink)

Why have theorists approached narrative primarily as a form of retrospect? Mark Currie argues that anticipation and other forms of projection into the future are vital for an understanding of narrative and its effects in the world. In a series of arguments and readings, he offers an account of narrative as both anticipation and retrospection, linking fictional time experiments (in Ali Smith, Ian McEwan, Martin Amis and Graham Swift) to exhilarating philosophical themes about presence and futurity. This is an argument (...) that shows that narrative lies at the heart of modern experiences of time, structuring the present, whether personal or collective, as the object of a future memory as much as it records the past. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Parables of Narrative ImaginingDavid Herman (bio)Mark Turner. The Literary Mind. Oxford: Oxford UP, 1996.The literary mind? The literary mind? The literary mind? Any which way you parse it, the title of Mark Turner’s provocative, elegantly written study seems to beg important questions, assume things that do not by any means go without saying. First parse: is there in fact a literary (part of the) mind? That is, is there (...) some nondiscrete but semi-autonomous module of cognitive capacities required for using and understanding literary discourse—a module that takes information (as its input) from other modules, operates on that information in some way, then feeds the transformed information (as its output: “literature”) into yet other modules, which in turn take that information as their input? 1 Second parse: assume that there is some module involved in the production and interpretation of literary discourse. Then of what nature, exactly, are the operations performed within that module, and how do they operate on the input in a way that makes the output specifically literary? How precisely is literature born from this process or set of processes? Doesn’t this kind of account suffer from all the disadvantages (inexplicitness, for example) that it inherits from its parent model, the black-box explanation? Third parse: should we even be talking about “minds” at all in connection with literature and the study of literature? Hasn’t “The Intentional Fallacy” and everything that has happened since in the fields of critical and cultural theory—from Marxism and poststructuralism to New Historicism and cultural studies—taught us to center critico-theoretical discourse anywhere but in “the mind”? Hasn’t all this research exposed the mind (of the author, reader, subject, or postsubject, as the case may be) as a construct with more or less noxious political and cultural properties? Are not the discourses of and about the mind so many strategies of interpellation—vehicles by which ideology can work to implant the illusions of inviolable inwardness, unchanging essence, and predetermined identity within a subject that takes such imagined realities to be its real conditions of existence? 2Turner does not directly address any of these questions—at least in the way that I have framed them. That may be grounds for criticism: if you are using a title that can be construed as polemical, then the onus is on you to explain just how the title positions your work in a wider context of argumentation. But at the same time, Turner’s analysis reformulates the underlying problems to which some of my questions point, thus raising [End Page 20] other, equally important issues. Coming to terms with these other issues may change the way we ask questions about things like literature and the mind. Specifically, as part of a larger “cognitive revolution” now unfolding in social-scientific and humanistic disciplines ranging from linguistics to literary and narrative theory, Turner’s book provides ample reasons for not thinking the idea of mind tantamount to an ideology of mind. 3 After all, reducing mind to an ideology of inwardness leaves unexplained any number of basic facts about perception, cognition, and language processing. There is, for example, our ability to use “image schemata” such as motion along a path and bounded interior to make sense of events like milk being poured into a cup, on the one hand, and contained spaces like the ones inside bottles, heads, and houses, on the other hand [Turner 16]. Relying on such schemata, I don’t regularly try to pour wine into a cutting board or to measure, in miles per hour, the speed of an asparagus stalk as it sits on the kitchen counter.There is also—to invoke a slightly different cognitive-scientific vocabulary—our ability to make predictions about emergent situations and sequences of events on the basis of prior, stereotypical situations and sequences stored in the memory as knowledge representations sometimes called frames and scripts [see Schank and Abelson]. For example, the script associated with making a purchase guides me in my interaction with the person at a cash register, such that I can make seemingly effortless predictions about what this person wants me to do... (shrink)

This research examines the novel No Time Like the Present (NTLP) by Nadine Gordimer as a material object. This novel outlines the conditions and situation of the post-apartheid South African country with various post-colonial problems. Centered on the life of a mixed family, black and white, with the characters of former independence fighter Umkhonto, the novel shows how the tortured and fragmented essence of a country struggles to define itself as a post-apartheid nation. In this regard, as an implication of (...) this problem, this research formulates two problems, (1) How do the colonial memory and trauma contructed in NTLP novel? And (2) How are the subject efforts to accept and recover from the trauma? To solve those problems, this research uses Postcolonial Trauma perpective of Step Craps and combined with reconciliation theory from Dominick LaCapra as a formal object. The aims of this research to (1) describe the construction of memory and colonial trauma through narrative witnessing that has an impact on the existence of the traumatic subject in the novel, and (2) explain the traumatized subjects efforts to survive through recovery and acceptance of the trauma experienced. This research is qualitative-descriptive by analyzing data using phenomenological method. The method used to analyze the events as well as traumatic experiences constructed in literary texts. The research resulted, (1) the construction of traumatic memories originating from apartheid events is narrated in various forms of torture carried out by the white regime, both directly against Umkhonto and South African society in general, including arrests and killings, segregation and cladestine life, invasions home, and cultural racism. This experience in turn causes collective trauma, which is narrated in symptoms such as the inability of the subject, feelings of inferiority, self-loathing, to Xenophobia. Furthermore, (2) in the efforts of reconciliation, social, political, economic, and other transformations and reforms, it encourages traumatic subjects to persist in the present and in the future, even though the past is still haunted. As an entity that represents the collectivism of the South African people, Umkhonto demonstrates persistence, reconnecting experiences, knowledge and feelings between them through acceptance of reality, selecting the right listeners or mates, and working towards voting rights in elections. (shrink)

Michael Haneke’s film The White Ribbon narrates violent attacks that disrupt the cyclical life of a German village in 1913–14. The narrator frames the violence as a study of the origins of fascism: the alleged perpetrators are children, who rebel against the disciplinary powers of patriarchal authority. Coming to maturity during World War I, they will have become the generation of Nazism’s followers. In contrast to psycho-historical readings of The White Ribbon as a cinematic exploration of the causal relationship between (...) the authoritarian formation of the juvenile subject and her susceptibility to fascism’s redemptive illusions, I propose an anti-psychological interpretation of the film. This reading seeks to understand The White Ribbon in terms of Haneke’s aesthetic and formal choices, which underpin his notion of “ethical spectatorship.” I argue that the film offers a dual metaphorical construction of the nexus between memory and the cinematic image, and of the mnemonic and affective aspects of the history of violence. Haneke forges a link between the European attitude to its history of fascism and its ongoing politics of exclusion, arising from its covert fascist desire for the unified self. The significance of The White Ribbon in the ongoing debate on history/memory thus lies in its critique of Europe’s current self-understanding as having outgrown its violent past. (shrink)

This article documents a project that deals with the application of a generative approach for creating audio-visual narration. The project investigates the possibility of producing spatio-temporal montage, offering a kaleidoscopic view of pre-recorded events. Fragmented narratives synthesize a complex whole, which evolve in space and time according to the viewer's behaviour in space. Thus, the viewer becomes the player of a live, constantly changing puzzle. The aim is to create new experiences derived from the synthesis is being pre-recorded memories, according (...) to kinetic commands. A kaleidoscopic narrative is being created according to users' placement, to their movement in space, and to interaction between them. The system's narratives are different if a single observer is interacting with it via his displacement, or if many observers are moving independently towards different directions or as a group. Two kinds of interaction are being developed: humanmachine interaction and humanhuman interaction. Condensings and rarefactions are perceived by the system as different stimuli, and thus they lead to different audio-visual narratives. The environment created by the system is planned to be both procedural and participatory. It is led by rules and by people at the same time. It reacts to the users' acts and is offered for multiple simultaneous personal readings. When interactive environments are offered for simultaneous readings by a number of users, they are altered in a way that depasses the sum of individual interactions, creating an emergent narrative and a collective memory. Video as a means of projecting recorded memories is being edited by the system in order to provoke new experiences and connotations, through semantic montage. (shrink)

Peirce’s Pheme directs interpretation of narratives via a “series of surprises” (ep2:154). The indexical and iconic elements inherent in Phemes are particularly potent in forcing attention and depicting relevant events. Index intrudes upon interpreters’ consciousness to notice the unexpected consequence; but icons exploit vividness. As imperatives, Phemes compel particular behaviors (1906: ms295). When narratives are portrayed in pictures, interpreters remember happenings in which Phemes feature surprising percepts, evoking an attentional response, and securing a confluence of events in memory. Findings (...) from children’s narrations demonstrate that events represented by Phemes are more often included in children’s retellings, because surprising images command active participation. This viewpoint impels listeners to build episodes, ascribing meanings across events, and proposing rationale for novel outcomes. (shrink)

Recent analytic-philosophical works in the field of situated cognition have proposed to conceptualize the self as deeply entwined with the environment, and even as constituted by it. A common move has been to characterize the self in narrative terms, and then to argue that the narrative self is partly constituted by narratives about the past that are scaffolded (shaped and maintained) by, or distributed over, a variety of objects that can rekindle episodic memories. While we are sympathetic to these approaches, (...) here we propose a different strategy to situate the self—one which can be seen as complementing the narrative one, and which draws from concepts and ideas central to the phenomenological-existentialist tradition. We suggest, first, that the self has a sense of its past not just via narratives and episodic memories, but in virtue of being embodied and thus, importantly, _sedimented_ (in other words, it has, or rather is, a _body memory_). Embodiment and sedimentation, in turn, always necessarily imply an environment or a situation, entailing that the self is also _inherently situated_. Second, we discuss the future-oriented dimension of selfhood, and argue that we understand ourselves as _projected_ into the future, again not necessarily only narratively and reflectively, but also tacitly, in a bodily and inherently situated way. (shrink)

The problem with many archives is that they are searchable only by supplementary metadata, rather than secondary metadata ; information about a visual object is not always reliable, especially when it comes to Black Canadians. Supplementary metadata in Canadian archives are not classified by race or ethnicity, thus, the very structure of the archive erases from public memory the lived experiences of Black Canadians. Given the move toward digitization over the last fifteen years, the importance of the archive has (...) become a topic of discussion. Since the public can now search through on-line collections, the need to protect and promote material archives has never been more important. This paper will explore the question of the archive-as-subject, rather than archive-as-source, through storytelling. Storytelling is one of the many cultural expressions that have connected Black populations. Using first-person narrative, I give examples from my ten-year-long experience working in Black Canadian archives to probe how the archive can move from its depository role to become a site where memories about Black Canadian experiences across time, space, and place are curated and narrated. What are the ethical challenges around this kind of reform? (shrink)

Being in Time examines philosophical treatments of time and self-consciousness in relation to concepts of narrative, focusing on the literary aspects of philosophical writing. Lloyd shows how philosophy bears on the human and emotional aspects of the experience of time which are often neglected by the history of philosophy. Starting with Augustine's treatment of the ways in which time makes him a 'problem to himself', the book traces the themes of unity and the experience of fragmentation and loss as expressed (...) by Descartes, Hume and Kant. The idea of the past as 'lost' is explored through Bergson's philosophy of time and Nietzsche's doctrine of eternal return. The book concludes with a discussion of philosophical aspects of themes of self-consciousness, memory and writing in Proust's Remembrance of Things Past and the novels of Virginia Woolf. (shrink)

This article focuses on Claudio Magris’s reflections on time by interrogating two time-related notions from which his entire narrative oeuvre develops: the idea of eternal con-temporariness and his reworking of Carlo Michelstaedter’s concept of ‘persuasion’. Furthermore, it aims to explore the implications of these notions for the ways in which Magris revisits and represents both the familiar and the less familiar places that make up the fabric of his literary journeys. The discussion of Magris’s use of the two notions of (...) time begins with Danube, where he recounts the experiences of the traveler-narrator on the vast itinerary from the river’s source to the Black Sea. Following the curved and sinuous path that runs parallel to the Danube’s riverbanks, the traveler-narrator records his reflections on the ways in which the historical and intellectual European figures, as well as the ordinary characters around which the book centers, have dealt with the experience of time. In his two later novels, Microcosms and Blindly, Magris picks up the theme of reflection again as it continues to shape his wanderings through global and familiar places. In the short stories of Tempo curvo a Krems [Curving time in Krems], in contrast, the aging characters have somehow come to a standstill after migrating from Central and Eastern Europe to northern Italy. Here, Magris seems to take a different perspective, since the elderly protagonists have renounced the search for persuasion and tend to withdraw from life. At the same time, however, the narrator’s conjectures from the seashore again lead the reader back to the very beginning of Magris’s long-life literary journey “through time and against time.” By evoking the image of the river’s delta and the narrator’s sense of uncertainty when the latter faces the open sea, Magris reaffirms once again the importance of preserving a sense of the beyond through which to discover the complexity and uncertainty of one’s own identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Staging History:Aesthetics and the Performance of MemoryBelarie Zatzman (bio)I want to talk about a certain time not measured in months and years. For so long I have wanted to talk about this time, and not in the way I will talk about it now, not just about this one scrap of time. I wanted to, but I couldn't. I didn't know how. I was afraid, too, that this second (...) time, which is measured in months and years, had buried the other time under a layer of years, that this second time had crushed the first and destroyed it within me. But no, today, digging around in the ruins of memory, I found it fresh and untouched by forgetfulness. This time was measured not in months but in a word—we no longer said "in the beautiful month of May," but "after the first 'action' or the second or right before the third. We had different measures of time, we different ones, always different, always with that mark of difference....—Ida Fink, A Scrap of Time and Other Stories1What are the boundaries of remembering? How do we make manifest the ruins of memory? How do we enter that time not measured in months and years? How do those not directly affected by the Holocaust encounter its meaning? How do we move toward the performance of memory with youth as co-creators, when we must be awake to the act of staging histories "both remembered and not remembered, transmitted and not transmitted"?2 In designing aesthetic practices of remembrance in the present, we face both the specificity of time and the collapse of time as a way of knowing. This paper articulates the design of a project, titled "Wrapped in Grief," in constituting personal and public memory in the aesthetic space made available by arts education. How can our drama work "capture the aesthetic of memory, its instability and its contingency"?3 "Wrapped in Grief" responds [End Page 95] to these questions about the performance of memory by articulating a process for constructing and rehearsing our own identities among the narratives of others, present and past. Contemporary research examining memory and memorial underscores the fact that in provoking history as an act of remembrance for a new generation, we are narrating a sense of self. The paradox of re-telling these personal and public histories is that we are playing out that which cannot be represented. In this sense, drama education offers an aesthetic frame that allows us the possibility "to be the story and to repeat its unrepeatability."4"Wrapped in Grief" was produced with youth between the ages of twelve and sixteen years old. As a Holocaust memorial project, it was designed as a scaffolded pedagogy in which historical contexts became the foundation informing all of the exploration that followed. First, young people created tableaux to locate particular events during the Holocaust; for example, Kristallnacht (9-10 November 1938), the Warsaw Ghetto uprising (19 April-16 May 1943), the book burnings of 10 May 1933, and the White Rose movement (public demonstrations against the Nazi regime by a network of students and faculty in Germany, 1942-43). The second stage of this arts education project asked participants to work on the identification of loss in their own lives, in juxtaposition to the historical archive with which they had been presented. "Wrapped in Grief" culminated in the staging of a mise-en-scene of memory, in which the young people fashioned large-scale sculptures as an artifact of their experience of memorial.The aesthetic frame that circumscribes the design of this "Wrapped in Grief" structure is threefold, and it takes up the challenge of staging history by (1) creating narrative relationships between diverse texts—autobiographical, legal, documentary; scripts, photographs, visual art forms; diary, memoir, survivor testimony; (2) exploring the relationship between the range of source materials and the students' personal and artistic reflections about them through writing, images, improvisation, tableaux, movement, scene study, or visual art activities; and (3) considering our relationship not only to the Holocaust, itself, but to how it shapes our lives in the present. As such, "Wrapped in Grief" stands... (shrink)

This paper explores the thought of Paul Ricœur from a feminist point of view. My goal is to show that it is necessary to narrate differently the history of our culture – in particular, the history of philosophy – in order for wommen to attain a self-representation that is equal to that of men. I seek to show that Ricoeur’s philosophy – especially his approach to the topics of memory and history, on the one hand, and the human capacity (...) for initiative, on the other hand– can support the idea that it is possible and legitimate to tell our history otherwise by envisioning a more accurate truth about ourselves. (shrink)

In this paper I explore the role played by public monuments in the narration of national stories. I examine several monuments that have been built to promote various national narratives, with a particular focus on the South Australian National War Memorial, located in Adelaide, Australia. My analysis reveals that monuments have a dynamic capacity to embody simplified narratives of the past, and to shape collective memory accordingly. I contend that, owing to this capacity, monuments play a significant role in (...) the narration of national stories. I also consider the power of monuments to serve vehicles for the promulgation of dissenting narrative strands. I ultimately argue that the prevalence of such strands reveals that many “memory wars” can never definitively be won—that is, that it is impossible to achieve homogeneity in history. (shrink)

The main objective of my article is to investigate the ways in which contemporary Anglophone drama and theatre actively employ diegetic and narrative forms, setting them in conflict with the mimetic action. The mode of telling seems to be at odds with the conviction not only about the mimetic nature of performance and theatre but also about the growing visuality of contemporary theatre. Many contemporary performances and dramatic texts expose the tensions between the reduction of visual representations and the expansion (...) of the narrative space. This space offers various possibilities of exploring the distance between the performers and spectators, tensions between narrative time and place and the present time of performance, the real and the imagined/inauthentic/fake, traumatic memory and imagination. The active foregrounding of the diegetic elements of performance will be exemplified with reference to several contemporary plays and performances: my focus will be on the uses of epic forms in what can be called post-epic theatre, illustrated by Kieran Hurley’s Rantin ; the foregrounding of the diegetic and the undecidability of the fictional and the real, instantiated by Forced Entertainment’s performances and Martin McDonagh’s The Pillowman ; and the narrative density and traumatic aporia of Pornography by Simon Stephens. (shrink)

The field of narrative medicine holds that personal narratives about illness have the potential to give illness meaning and to create order out of disparate facets of experience, thereby aiding a patient’s treatment and resisting universalizing medical discourse. Two narratives of bipolar disorder, Kay Redfield Jamison’s prose memoir An Unquiet Mind and Ellen Forney’s graphic memoir Marbles challenge these ideas. These writers demonstrate that one result of bipolar disorder is a rupture to their sense of identity, making straightforward and verbal (...) forms of narrative impossible. During periods of relative mood stability, reliable memories of mania or depression are equally impossible. As a result, these memoirists seek to develop sources of self-knowledge other than memory and introspection, long the foundations of personal narrative. Finally, An Unquiet Mind and Marbles return attention to questions of selfhood at a time when scholarship on memoir rejects interpretations of life stories as clear and reliable expressions of identity. (shrink)

The intellectual impact of the First World War in China is often understood as having led to a disenchantment with the West and a discrediting of the authority of “science”, while at the same time ushering in a renewed sense of cultural as well as national “awakening”. Important developments such as the May Fourth Movement, the rise of Chinese Marxism, and the emergence of modern Confucianism have become integral parts of the narrative surrounding the effects of the “European War” in (...) China, and bear witness to the contested relation between tradition and modernity in twentieth-century Chinese thought. Through a case study of a number of wartime and post-war texts written by the “cultural conservative” thinker and publicist Du Yaquan, this paper tries to draw attention to the complexity and occasional ambiguity of responses to the “Great War” in modern Chinese intellectual history. More specifically, the following pages offer an analysis of Du’s critique of “materialism” in the context of his quest for social freedom and cultural continuity, his enduring commitment to scientific notions of social evolution and political governance, and his approach to the relations among war, the nation-state, the individual, and the international interstate order developed against the background of the First World War. (shrink)

In this article, we draw on feminist trauma studies with the aim of deconstructing the theoretical and methodological binary between individual and collective trauma. Based on first-hand interviews with Bosnian survivors of rape, we attempt to ‘think against’ the private/public split that trauma studies work often unintentionally reifies. We draw upon recent methodological innovations that have been influenced by thinkers such as Derrida and Deleuze. Specifically, we work with what Jackson and Mazzei call rhizomatic and trace readings in the threshold. (...) Through a rhizomatic and trace reading of narrative pieces extracted from the interviews, we engage with the following questions: 1) How do we theorise what Davoine and Gaudilliere call ‘the sociopolitical faultlines’ between collective/public accounts of trauma and those traditionally constructed as private/personal? 2) How do accounts of war rape, which narrate the eruption of the past into the present, elucidate the myriad links between the private and public in a number of ways; among others, the echoes or traces of the everyday ‘before’ in subjects’ stories of the monstrous ‘after’? And 3) What is the relationship between the ‘unspeakable’ in the traumatic memories of the survivors and the ‘speakable’ collective memories of traumatic humanmade events? How does the collective desire ‘not to know’ or ‘to forget’ impact on the individual survivor’s ability to reconstitute their post-trauma identity in a personal as well as a social context? The aim of the analysis is to show that the multifaceted nature of the traumatic reality demands a multifaceted approach that resists binary constructions relating to self/other, private/public, individual/collective. (shrink)