Journal articles on the topic 'Memories as embodied experiences'
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1
Zeller, Benjamin E. "Religion as Embodied Taste." Body and Religion 1, no. 1 (July 7, 2017): 10–30. http://dx.doi.org/10.1558/bar.32834.
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This article offers a model of conceptualising religion as taste. Using religion and food as a point of entry, it demonstrates how modelling religion as taste permits attention to such concepts as embodiedness, the place of the senses within religious experience, the relation of memory to experience, and the mediation of culture. I draw on the cognitive and biological science of taste, and argue that religion functions analogously to this sense, experienced through the brain, body, and mind. The article uses the intersection of religion and food, and religion and visual taste, to develop the theme of how culturally conditioned tastes emerge out of embodied experiences, with reference to memories, past experiences, and collective worldviews.
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Yu, Ri. "Sharing of Memories and Experience of a Place in 『Cheonggye Stream』." Liberal Arts Innovation Center 9 (May 30, 2022): 283–305. http://dx.doi.org/10.54698/kl.2022.9.283.
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The purpose of this study is to analyze how Korean writers abroad restore their hometown experiences and memories through their works and the process of sharing memories between writers and readers by focusing on Kim Min-jung's Cheonggye Stream. To this end, I analyzed studies of Korean literature overseas and the meaning of memory in literature. Based on this, the works are analyzed in detail, focusing on sharing place experiences and memories revealed in the works. Cheonggye Stream is a work of a firstgeneration Korean immigrant writer, and as the title suggests, it was created based on memories of the writer's hometown and home country. In this work, memories are embodied through the writer's experience and hometown space. In addition, personal experiences and historical events are narrated to restore memories of hometown and home country spaces. In this process, the writer communicates with the readers of Korea through the work, and the experience and memory of the writer and the reader are exchanged. Analyzing the experience and memories of Korean writers abroad has significance in that they can have a sense of solidarity with Koreans.
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Clift, Bryan C., and Renée T. Clift. "Toward a “Pedagogy of Reinvention”: Memory Work, Collective Biography, Self-Study, and Family." Qualitative Inquiry 23, no. 8 (September 25, 2017): 605–17. http://dx.doi.org/10.1177/1077800417729836.
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In this article, we illustrate how we have drawn on the methodology of collective biography as a way to inform our teaching practices. Collective biography offers a strategy for retrieving and reworking memories/experiences that can be used to understand subjectivity. In doing so, we utilize this work on our memories, experiences, and subjectivities as we engage in the self-study of education practice. Seeking to incorporate embodied, familial, emotional, temporal, contextual, and cognitive interpretations of past and present, we aim to make our pasts useable for our futures. We discuss the ways in which memory, experience, and reinterpretations of both as interplays among past, present, and context contribute to our reinvention of teaching practices.
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Ørbæk, Trine. "Analysing students’ experience of bodily learning – an autoethnographic study of the challenges and opportunities in researching bodily learning in own teaching practice1." Journal for Research in Arts and Sports Education 6, no. 4 (September 30, 2022): 92–104. http://dx.doi.org/10.23865/jased.v6.3872.
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This article explores the challenges and opportunities in trying to capture students’ experience of bodily learning based on own teaching practice in teacher education. Applying a sensory autoethnographic approach, I study my bodily and emotional experience during the analytical process investigating my students’ experience of bodily learning as part of their education in becoming teachers of physical education. I ask the following research questions: What was my bodily and emotional perception of analysing the students’ experience of bodily learning? How can these bodily and emotional experiences illuminate the challenges and opportunities in researching students’ experience of bodily learning in own teaching practice? In analysing the reflection notes through the concepts of embodied affectivity, embodied interaffectivity and body memory, this study shows that analysing students’ experience of bodily learning from own teaching practice illuminates various dilemmas. First, my body memories of being in the same situation the students referred to, reactivated my memories of being the teacher educator in the same situation. Second, conducting a thematic analysis excluded dimensions of the students’ experience of bodily learning. Third, a shared emotional approach enabled me to capture the students’ experience of bodily learning in my own teaching practice.
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Hoveid, Marit Honerød. "Sensing Feeling Alive: Attentiveness to Movements in/with Embodied Teaching." Studies in Philosophy and Education 40, no. 3 (March 23, 2021): 303–15. http://dx.doi.org/10.1007/s11217-021-09766-9.
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AbstractThis is an explorative work on teaching. The understanding of teaching that I use in my work is that teaching is action, it happens in the present – here and now. So, while teaching refers to shorter timespans, education in this understanding refers to timespans that are of a longer duration, meaning education is communication between generations (Hoveid and Hoveid 2019). The notion of teaching I explore draw from experiences, for my own part between nature, dog and human. These are experiences of sensing where one flows through and interconnects with others, so that boundaries are difficult to discern, and hence boundaries are not the point, but rather how sensing bodies and ‘movements between’ create experiences that are constitutive of who we become both as dog and human, in/with nature. Here I am not referring this to learning, as is usual in the equation “teaching and learning”. This does not mean learning is irrelevant, but rather that it is such an encompassing concept I cannot deal with it satisfactorily in this article. Also, I go beyond what is commonly understood as learning, in terms of making a change in someone’s cognitive or emotional structures. This article explores the kind of experiences our sensing body furnish us with and how these transfer to memory, in the here and now bodies sense, and how this creates memories. I argue this is especially important to recognize in teaching, but seldom addressed. I suggest we pay more attention to these experiences of sensing and how it becomes part of individual and collective memories. To me this is a vital and integral part in all teaching, in the present.
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Bolderman, Leonieke, and Stijn Reijnders. "Have you found what you’re looking for? Analysing tourist experiences of Wagner’s Bayreuth, ABBA’s Stockholm and U2’s Dublin." Tourist Studies 17, no. 2 (August 29, 2016): 164–81. http://dx.doi.org/10.1177/1468797616665757.
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Music tourism, the act of travelling to places associated with music, has become part of the tourism itinerary of many European cities. Although academic interest in this phenomenon is growing, little empirical research explores the experiences of music tourists – what are music tourists looking for? This study is based on participant observation and 15 in-depth interviews with tourists to Wagner’s Bayreuth, ABBA’s Stockholm and U2’s Dublin. It is argued that music tourism experiences involve a process of identity-work on a personal, cultural and embodied level. For most of the respondents, music plays an important role in their story of self, which is one of the main motives for travel and a source of performing self through music tourism practices. Once there, tourists relate personal music memories to music histories encountered in situ. Thus, music tourism effectively connects personal memories with shared identities and social spaces created by embodied practices.
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Hockey, Jenny, Rachel Dilley, Victoria Robinson, and Alexandra Sherlock. "Worn Shoes: Identity, Memory and Footwear." Sociological Research Online 18, no. 1 (February 2013): 128–42. http://dx.doi.org/10.5153/sro.2897.
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This article raises questions about the role of footwear within contemporary processes of identity formation and presents ongoing research into perceptions, experiences and memories of shoes among men and women in the North of England. In a series of linked theoretical discussions it argues that a focus on women, fashion and shoe consumption as a feature of a modern, western ‘project of the self’ obscures a more revealing line of inquiry where footwear can be used to explore the way men and women live out their identities as fluid, embodied processes. In a bid to deepen theoretical understanding of such processes, it takes account of historical and contemporary representations of shoes as a symbolically efficacious vehicle for personal transformation, asking how the idea and experience of transformation informs everyday and life course experiences of transition, as individuals put on and take off particular pairs of shoes. In so doing, the article addresses the methodological and analytic challenges of accessing experience that is both fluid and embodied.
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Ortuzar, Jimena. "Migrant Memory, Movement, and Misrecognition: Reactivating Diasporic Experience Toward an Anticolonial Politics of Place." Performing (in) Place: Moving on/with the Land 7, no. 1-2 (January 20, 2022): 84–96. http://dx.doi.org/10.7202/1085314ar.
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How might diasporic experiences of loss and displacement aid immigrants in responding to and acknowledging Indigenous lands and territories? Drawing from my own immigrant experience, I retrace and reinvent my movement in Tkaronto through walking practices that recover memories of migrancy as a newcomer to the land known as Canada. Such memories can be useful sources for immigrants to consider their relationship to settler colonialism. Reactivating them through movement might elicit a new responsiveness to the land as well as recognition of its caretakers and their struggles. I reflect on the possibilities that such a practice of walking and thinking through embodied memories can open up for undoing the coloniality of thought that underpins migrant aspirations for “a better-than-survival kind of living” (Berlant) and that so often results in assimilation to, and participation in, a settler colonial state.
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Sinclair, Amanda. "Five movements in an embodied feminism: A memoir." Human Relations 72, no. 1 (May 8, 2018): 144–58. http://dx.doi.org/10.1177/0018726718765625.
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How can bodies, embodied experiences and feelings, be recognized as central elements of becoming and being feminist? This article – a mixture of memoir and research reflection – aims to reveal the emergent and embodied nature of feminist paths using myself as case in point. Recounting five personal ‘movements’ over three decades, I show how my material situations, physically-felt struggles and embodied encounters with others, especially women, wrested – sometimes catapulted – my precarious self-identification as a feminist. Writing this as a memoir, I hope to evoke in the reader memories and experiences that highlight their own embodied feminism. The article identifies some problems feminists commonly face, contesting unhelpful hierarchies of ‘good’ and ‘bad’ feminists. I explore some gifts of feminism – encounters with writing and people – which have provided theoretical innovation and personal insight for me, and offer fertile avenues for further research. Avoiding trying to ‘trap’ feminism as one set of views or experiences, I seek to show how our feminisms are always embodied: opportunistic, emergent, sometimes inconvenient, neither comprehensive nor respectable, but frequently bringing agency, invigoration and surprising pleasures. It gives all who call ourselves feminists, cause for optimism.
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Gannon, Susanne, and Diem Chi Nguyen. "Boom. Tick. Bing! Writing Bodies In." LEARNing Landscapes 4, no. 1 (April 1, 2010): 265–71. http://dx.doi.org/10.36510/learnland.v4i1.376.
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This paper describes a poetic response to the school-based practicum for beginning secondary teachers. Following their first practicum experience, in their English Method class back at the university, students pooled sensory details and memories of the week they had just spent in schools to write their own poems.The paper includes one of the poems and some thoughts about the complexity, ambivalence and embodied knowing that poetry opens up space for in reflecting on initial school experiences for beginning teachers.
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Steadman, Chloe, Emma Banister, and Dominic Medway. "Ma(r)king memories: exploring embodied processes of remembering and forgetting temporal experiences." Consumption Markets & Culture 22, no. 3 (May 30, 2018): 209–25. http://dx.doi.org/10.1080/10253866.2018.1474107.
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Neeganagwedgin, Erica. "Caribbean Indigenous Experiences of Erasure: Movement, Memory and Knowing." Analecta política 12, no. 22 (2022): 1–17. http://dx.doi.org/10.18566/apolit.v12n22.a01.
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The Caribbean world has experienced a centuries-long process of European expansion into their territories. This article outlines the dramatic impact and disruption due to colonization and imperialism, and the ways in which these interlocking systems have shaped contemporary Taino understandings. It examines what it means to remem- ber our Taino ancestors, their histories that persist and are embedded in the fabric and landscape of everyday Caribbean memories, their culture, and their lifeways that permeate many Caribbean names, places, and lands. This paper examines memory discourse and knowledge as ways and enactments of embodied Taino presence and contemporary life.
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Ely-Harper, Kerreen. "Writing/performing myself on-screen: Daniel Monks’ memory work on film." Journal of Screenwriting 12, no. 1 (March 1, 2021): 95–111. http://dx.doi.org/10.1386/josc_00050_1.
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Performing memories is a way of working through and reconstructing the self. Films that draw on autobiographical experiences are a way of working through and constructing narratives of the self. How can memory work be applied to the writing and filmmaking process? Can memory work, with its focus on personal and embodied experience, lead us to a more truthful account of our individual histories and ourselves? In addressing these questions, I draw on sociological and memory studies into autobiographical memory in my examination of the screenwriting work of Australian actor/writer Daniel Monks. Monks’ films Marrow (2015) and Pulse (2017) are adapted and developed from the author’s personal memories and experiences. Identifying as disabled and queer, Monks’ work straddles the fact-fiction divide, enabling the social and personal to dynamically interact, producing drama narratives where the body is the primary site for retelling and sharing with an audience his need to be seen. My study includes original drafts of screenplays, produced films and interviews with Monks on his writing and development processes. Demonstrating how Monks uses and refigures his body within a cinematic landscape, I aim to promote discussion on how individual memories function as dynamic and interconnected sources for the screenwriter/filmmaker.
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Dann, Mig. "Everything of which I was once conscious but have now forgotten." idea journal 17, no. 02 (December 1, 2020): 248–64. http://dx.doi.org/10.37113/ij.v17i02.388.
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This article addresses how art and spatial practise can increase the potential for knowledge transfer and celebrate diverse forms of embodied expertise. By examining the intersection of creative practise and psychological enquiry, I explore memory as embodied or sensory remembering, and ask how the encounter with material forms can engage with memory to generate meaning through the embodied associations of the materials used. Processing emotions and lived experiences through reflection, and then re-imagining and re-materialising them in a contemporary context, reveals trauma as an element of a fractured then re-forming identity. Integration in this context is a process where an awareness of painful memories of trauma is incorporated into a sense of self, and the trauma no longer constrains the individual. Through an analysis of my own multimedia practise, which references my traumatic memories, I propose that creative practise is a form of somatic experiencing. The embodied gestures involved in artmaking, together with reflection that is an intrinsic part of the process, lead to release of the unconscious pent energy embedded in trauma. I consider whether a material investigation and experimentation with the sensory aspects of memory, including affect, embodied perception, intuition and felt knowledge, is a means to transform past trauma. By releasing traumatic energy through an embodied engagement with an expanded spatial practise, I am increasing the potential for knowledge transfer, which is then expressed in the artwork. Trauma is exposed, moving from silence to testimony, and the witnessing by an audience further increases the potential for transfer of knowledge. Diverse embodiment emerges through the employment of a disparate range of materials and methods, including the creation of spatial encounters.
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Hibberd, Lynne, and Zoë Tew-Thompson. "Constructing memories of Holmfirth through Last of the Summer Wine." Memory Studies 11, no. 2 (December 7, 2016): 245–56. http://dx.doi.org/10.1177/1750698016679222.
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Last of the Summer Wine (BBC, 1973–2010) was filmed in Holmfirth, West Yorkshire, UK, for 37 years. Consequently, it has affected collective memories of the space and place of the region. Summer Wine has become embedded into the area and exists as part of everyday communicative memory in which fictional representations, oral histories, embodied practices, sensory engagements and lived experiences collide. In examining Summer Wine’s continued presence in Holmfirth even after it has ceased production, we investigate how the series as a text, institution and brand serves to spatially inform Holmfirth and construct, embed and inform cultural memory.
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Satama, Suvi, and Juulia Räikkönen. "Exploring the embodied narrations of the city." International Journal of Culture, Tourism and Hospitality Research 14, no. 3 (July 9, 2020): 373–83. http://dx.doi.org/10.1108/ijcthr-10-2019-0180.
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Purpose This study aims to explore how people bodily narrate and use collective memory to clarify their embodied experiences regarding a city which they memorise. Design/methodology/approach Drawing on 1,359 short stories collected by the online travel portal Visit Turku about ‘How the city feels’, the fine-grained embodied experiences of people are represented through descriptions of their feelings towards the city of Turku. Findings Based on the analysis, two aspects through which the respondents narrated their embodied experiences of cities have been identified: (1) the sociomaterial entanglements with the city and (2) the humane relationship with the city. Research limitations/implications This study is limited to short stories acquired online, raising questions of anonymity and representativeness. Thus, these narrations are constructions which have to be interpreted as told by specific people in a certain time and place. Practical implications Tourist agencies should pay attention to the value of looking at written stories as bodily materialisations of people’s experiences of city destinations. Understanding this would strengthen the cities’ competitiveness. Originality/value By empirically highlighting how people memorise a city through narrations, the study offers novel viewpoints on the embodied experiences in cities as well as the cultural constructs these narrations are based on, thus broadening our understanding of how cities become bodily entangled with us.
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Manley, Andrew, and Michael Silk. "Remembering the City: Changing Conceptions of Community in Urban China." City & Community 18, no. 4 (December 2019): 1240–66. http://dx.doi.org/10.1111/cico.12466.
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Adopting complimentary integrative research methodologies, this article examines changing conceptions of community among urban residents within the city of Suzhou, Jiangsu province, China. Through local residents’ past memories, “everyday” experiences of (former) urban communities, and reflections on a particular way of life, we focus upon the subjective/affective meanings and memories attached to processes of urban change. We place emphasis on the manner in which residents make sense of sociospatial transformations in relation to the (re)making of community, local social interaction, and a sense of belonging. Discussion centers on the affective and embodied notions of a particular way of life in (older) communities; sensory performances that were deemed difficult to replicate within modern development zones and the broader field of contemporary Chinese society.
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Hoegaerts, Josephine. "Chewing Demosthenes’ Pebbles: Embodied Experience Making the Scientist’s Persona, ca.1830-1910." Persona Studies 4, no. 1 (May 4, 2018): 6–17. http://dx.doi.org/10.21153/ps2018vol4no1art682.
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This paper argues for an embodied approach to the scientist’s persona, using ‘experience’ as its focal point. Rather than noting that embodied experiences influenced scientists’ practices and identities amidst (or despite) ideals of objectivity, I want to draw attention to the ways in which personal, embodied experiences were celebrated in nineteenth century science, and presented as primordial for the practice of competent research.I am focusing on those scientists involved in the study of the voice in order to do so. Because the physical workings of the voice are largely hidden inside the body, fields such as laryngology and phoniatry developed a number of touch-based, experiential scientific practices before and alongside tools of visual observation. These non-visual practices were very closely connected to researchers’ sensations of their own bodies, and connected to their identity (as a middle-class amateur singer, a hoarse professor, a stammerer, etc.). As scientific disciplines studying the voice developed over the century, personal ‘experience’ (understood both as particular practices and notions of personal background and identity) was increasingly brought forward as a unique source of understanding and expertise. This resulted in a highly diverse field of experts on the voice, in which otherwise non-elite researchers could participate and even rise to fame. They did so because, and not despite, their physical and social impediments. Studying the experiential practices and memories brought forward by this network of experts allows me to look at the construction of their scientific personae from an intersectional perspective. A focus on the nineteenth century notion of ‘experience’ and its inclusion in scientific discourse allows us an insight into the various constituent elements of a ‘persona’ built within the context of a particular field, and drawing liberally on aspects of identification that do not always fit the classic categories of gender, class, age, health, etc.
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Malmström, Maria Frederika. "The Desire to Disappear in Order Not to Disappear." Cambridge Journal of Anthropology 39, no. 2 (September 1, 2021): 96–111. http://dx.doi.org/10.3167/cja.2021.390207.
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This article tells a story of the aftermath of the ‘failed revolution’ in Egypt through the prism of sound and gendered political prisoner bodies. It created embodied reactions among Cairene men—years after their lived prison experiences—in which depression, sorrow, stress, paranoia, rage, or painful body memories are prevalent. Affect theory shows how sonic vibrations—important stimuli within everyday experience, with a unique power to induce strong affective states—mediate consciousness, including heightened states of attention and anxiety. Sound, or the lack thereof, stimulates, disorients, transforms, and controls. The sound of life is transformed into the sound of death; the desire to disappear in order not to disappear again produces ‘ghost bodies’ alienated from the ‘new Egypt’, but from the family and the self too.
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Nettleton, Sarah, and Emma Uprichard. "‘A Slice of Life’: Food Narratives and Menus from Mass-Observers in 1982 and 1945." Sociological Research Online 16, no. 2 (June 2011): 99–107. http://dx.doi.org/10.5153/sro.2340.
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This paper reports on an analysis of hitherto unexamined documentary data on food held within the UK Mass Observation Archive (MOA). In particular it discusses responses to the 1982 Winter Directive which asked MOA correspondents about their experiences of food and eating, and the food diaries submitted by MOA panel members in 1945. What is striking about these data is the extent to which memories of food and eating are interwoven with recollections of the lifecourse; in particular social relations, family life, and work. It seems asking people about food generates insight into aspects of everyday life. In essence, memories of food provide a crucial and potentially overlooked medium for developing an appreciation of social change. We propose the concept ‘food narratives’ to capture the essence of these reflections because they reveal something more than personal stories; they are both individual and collective experiences in that personal food narratives draw upon shared cultural repertoires, generational memories, and tensions between age cohorts. Food narratives are embodied and embedded in social networks, socio-cultural contexts and socio-economic epochs. Thus the daily menus recorded in 1945 and memories scribed in 1982 do not simply communicate what people ate, liked and disliked but throw light on two contrasting moments of British history; the end of the second world war and an era of transition, reform, individualization, diversity which was taking place in the early 1980s.
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Marshall, Matilda, and Jón Þór Pétursson. "Pantry Memories." Ethnologia Fennica 49, no. 1 (October 1, 2022): 26–49. http://dx.doi.org/10.23991/ef.v49i1.112209.
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In recent years, references to “old-fashioned pantries” and “classic root cellars” have regularly popped up in real estate ads across Sweden as a potential selling point for people seeking new homes. The use of the words “classic” and “old-fashioned” indicates a shift in the thinking about traditional food storage spaces. In this article, we explore the recontextualization and emotionalization of traditional food storage spaces in Swedish society. We base our analysis on an open-ended questionnaire on food storage, preservation, and household preparedness directed to Swedish households. We investigate how our respondents have recounted and shaped embodied memories in the act of writing about past food storage: the different spaces, times, people, practices, emotions, and objects. Viewing these acts of remembering and writing about past food storage as emotional practices has led to an understanding of how emotional experience in the past is reinterpreted in the present. Seeing these acts as emotional practices illustrates the relational nature of emotions, where longing for past food storage spaces is one way to reflexively deal with contemporary issues by managing everyday life. Finally, we argue that reflexive nostalgia helps to create and interpret emotions – making past and present food storage meaningful.
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Edwards, Stephanie C. "Pharmaceutical Memory Modification and Christianity’s “Dangerous” Memory." Journal of the Society of Christian Ethics 40, no. 1 (2020): 93–108. http://dx.doi.org/10.5840/jsce202051820.
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Pharmaceutical memory modification is the use of a drug to dampen, or eliminate completely, memories of traumatic experience. While standard therapeutic treatments, even those including intense pharmaceuticals, can potentially offer individual biomedical healing, they are missing an essential perspective offered by Christian bioethics: re/incorporation of individuals and traumatic memories into communities that confront and reinterpret suffering. This paper is specifically grounded in Christian ethics, engaging womanist understandings of Incarnational, embodied personhood, and Johann Baptist Metz’s “dangerous memory.” It develops an ethical framework of Christian “enfleshed counter-memory” that responds to the specific challenge of pharmaceutical memory modification, and traumatic experience generally.
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Trammell, Matthew. "“DREAMING TRUE”: EMBODIED MEMORY, TRANSUBJECTIVITY, AND NOVELTY IN GEORGE DU MAURIER'SPETER IBBETSON." Victorian Literature and Culture 46, no. 2 (May 16, 2018): 365–79. http://dx.doi.org/10.1017/s1060150318000050.
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InConfessions of an EnglishOpium Eater(1821), Thomas De Quincey famously describes the mind as a palimpsest upon which inscribed memories are never truly lost to the passage of time. These memories, especially of childhood, lurk under the conscious surface of the mind, waiting to be rediscovered during intervals of intensified desultory memory that are made possible for De Quincey by opium-induced dreaming. Opium is utilized during these dreams as a perception-altering technology; memories of childhood are not only recalled while under the influence of the drug, but are revivified in a way that extends beyond the dreamer's normal mental capacity. The formulation of dreaming as a state in which memories buried under the palimpsest of time were retrieved and “relived” was important to a wide array of philosophers, medical doctors, and psychologists over the course of the long nineteenth century, culminating in Freud's seminalThe Interpretation of Dreamsin 1899. Alongside the theorization of ‘dream science’ in psychological and medical contexts, the Victorian literati provided their own contributions in both sensation novels and realist fiction. Reciprocally, as has been discussed in much recent work within Victorian studies, well-known characters and scenes from contemporary literature were often used to illustrate dream theories, neurological conditions, and philosophical conceptions of the self in scholarly journals and medical textbooks. The most fantastical literary treatment of dream space as a wholly separate realm within which the dreaming subject can fully recover and even surpass the sensations associated with earlier memories occurs in George Du Maurier's oft-overlookedPeter Ibbetson(1891). Over the course of the novel, the titular narrator reveals (inconsistently and in sometimes contradictory ways) dream space to be a world in which the habitual reliving of childhood events is an endlessly satisfying, novel, and strangely embodied experience for the protagonist and his lover, while also possessing connections to human evolutionary precursors and the afterlife. InPeter Ibbetson, habit is not the deadening enemy of novelty and experience that is so often portrayed in contemporary interpretations of Victorian literature. Rather, habit qua the mental technology of “dreaming true,” a form of intense, consciously-directed dreaming practiced by the novel's central characters, is paradoxically portrayed as a method by which the freshness of sensation associated with an original event can be endlessly recreated and even surpassed within a dream of that event. Contrary to twenty-first century depictions of dreams as events that help the subject to become habituated to emotional stresses, Du Maurier presents dreaming true as a practice that intensifies rather than inures the dreaming subject's emotional relationship to vivid or traumatic childhood events (Hartmann 2). Inherent in this reading is a radical formulation of the relationship between habit and novelty as understood in the late Victorian novel, revealing the generative power of habit that is disclosed within dream space.
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Costello, Peter. "Mutual Recognition: Empathy as the Foundation of Community in Dementia." Innovation in Aging 5, Supplement_1 (December 1, 2021): 394–95. http://dx.doi.org/10.1093/geroni/igab046.1535.
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Abstract This paper explores the challenges of developing a healthy, genuine community as some of its members experience cognitive decline or dementia. I draw upon philosophical discussions on community (Stein, 2000) and Husserlian empathy (1931;1939) to identify these challenges. First, community is organic; it relies on the differentiated roles of individual members to remain healthy. The ability to recognize the contribution of each member is essential for its health. Second, dyadic relationships may similarly be healthy or waning depending on the presence or absence of mutual empathy. Empathy is embodied. Persons living with dementia (PLWD) need to experience being recognized as persons, in person, in order for dyadic relationships and communities to thrive. As such, some communities may become unhealthy in the absence of mutual recognition. In these instances, careful interventions, e.g., through shared experiences and embedded memories, may be required to promote the well-being of the community and its members.
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Ropo, Arja, and Ritva Höykinpuro. "Narrating organizational spaces." Journal of Organizational Change Management 30, no. 3 (May 8, 2017): 357–66. http://dx.doi.org/10.1108/jocm-10-2016-0208.
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Purpose The purpose of this paper is to explore the narrative nature of organizational spaces and how these narratives influence human action. The study introduces a notion of “narrating space” that emphasizes a narrative construction of space that is dynamic and performative. The study joins the recent material and spatial turn in organization studies where spaces are not considered merely as a container or a context to organizational action, but as a dynamic and active force. Design/methodology/approach The study draws on the triadic conception of space of Henry Lefebvre (1991). Lefebvre developed three interconnected dimensions of space: conceived, perceived and lived space. Space can be conceived as an abstract architectural plan or perceived through the practice of space. The dimension that integrates these two is the lived space. Spaces are experienced through emotions, imagination and embodied sensations. Instead of being a passive object, spaces become active and performative through the human engagement. They carry narratives that change their form as time passes by. The study embraces aesthetic, embodied epistemology where sensuous perceptions are considered as valid knowledge. Findings The study applies an aesthetic and dynamic approach to space and illustrates how spaces carry performative and processual narratives. These narratives are based on lived experience through personal, embodied experience, memories and sensuous perceptions. The illustrations also show that narratives change over time. Research limitations/implications A narrating space concept is characterized by being subjective, dynamic and temporal. Furthermore, it is pointed out that space is constructed through sense-based experiences. A metaphor of an amoeba is offered to depict the nature of the phenomenon. The amoeba metaphor points out that space narratives are dynamic and changing. The study adds to a better awareness of space as a sensuous narrative. Beyond being an isolated personal experience, the study and the illustrations enhance a material view to organizational narratives. Practical implications The study suggests that managers, architects and designers should take notice of spaces as narratives that involve temporal and sensuous experiences when planning and (re)designing work environments. Due to the subjective and temporal nature of organizational spaces they are manageable only to a limited extent. Therefore, to appreciate an active narrating nature of organizational spaces, employee involvement in planning and (re)designing spaces is encouraged. Originality/value First, the paper enhances the awareness of organizational spaces as sensuous narratives. Second, it adds a material aspect to narratives. Third, it advances an aesthetic and embodied approach to narrative organization research.
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Horwat, Jeff. "Too Subtle for Words: Doing Wordless Narrative Research." Art/Research International: A Transdisciplinary Journal 3, no. 2 (September 15, 2018): 172–95. http://dx.doi.org/10.18432/ari29378.
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Inspired by the wordless novels of early twentieth century Belgian artist Frans Masereel, this paper introduces wordless narrative research, a dynamic method of inquiry that uses visual storytelling to study, explore, and communicate personal narratives, cultural experiences, and emotional content too nuanced for language. While wordless narrative research can be useful for exploring a range of social phenomenon, it can be particularly valuable for exploring preverbal constructions of lived experiences, including trauma, repressed memories, and other forms of emotional knowledge often times only made accessible through affective or embodied modalities. This paper explores the epistemological claims of the method while describing five considerations for doing wordless narrative research. The paper concludes with a presentation of an excerpt of There is No (W)hole (Horwat, 2015), a surreal wordless autoethnographic allegory, as an example of wordless narrative research.
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Simovska, Venka, Laila Colding Lagermann, Heba Salah Abduljalil, Line Lerche Mørck, and Dorte Kousholt. "Inside out: what we (don’t) talk about when we talk about research." Qualitative Research 19, no. 2 (December 24, 2017): 113–30. http://dx.doi.org/10.1177/1468794117749165.
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In this article, we discuss issues that are rarely (if ever) talked about in research: experiences of deep insight and inspiration, of meaning-making, of embodied passion and of excitement related to the practice of engaging in qualitative research and of being a qualitative researcher. These are the ‘aha’ moments or ‘eureka’ experiences. Drawing on Frigga Haug’s collective memory work, five individual memories were articulated as text and analysed collectively over a period of six months. By analytically deploying the concept of generativity, we portray the tensions, dynamics and interactions that (co)create aha moments and movements as a way of enacting situated research(er) agency and of challenging the neoliberal instrumentalization of research and researchers. Our aim is to contribute to visualizing and fostering small but powerful steps in innovative, good quality research and bringing desire and passion (back) into research practice.
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Davis, Belinda, and Rosemary Dunn. "Children’s Meaning Making: Listening to Encounters with Complex Aesthetic Experience." Education Sciences 13, no. 1 (January 10, 2023): 74. http://dx.doi.org/10.3390/educsci13010074.
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This paper describes young children’s symbolic meaning-making practices and participation in complex aesthetic experiences in a contemporary art museum context. Through an ongoing long-term research and pedagogy project, The Museum of Contemporary Art, Sydney, Australia (MCA) is working with researchers to provide regular opportunities for young children (aged birth–5 years) and their families—all members of the same early childhood education (ECE) services—to encounter art works, engage with materials, and experience the museum environment. The program provides a rich experience of multiple forms of communication, ways of knowing and ways of expressing knowings: through connecting with images, videos and told stories about artists and their practice, sensorial engagement with tactile materials, and embodied responses to artworks and materials. Children also experience the physicality of the museum space, materials for art-making and the act of mark-making to record ideas, memories, and reflections. The project supports the development of a pedagogy of listening and relationships and is grounded in children’s rights as cultural citizens to participation, visibility and belonging in cultural institutions such as the MCA.
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von Poser, Anita, and Edda Willamowski. "The Power of Shared Embodiment: Renegotiating Non/belonging and In/exclusion in an Ephemeral Community of Care." Culture, Medicine, and Psychiatry 44, no. 4 (April 19, 2020): 610–28. http://dx.doi.org/10.1007/s11013-020-09675-5.
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Abstract In this article, we explore the power of shared embodiment for the constitution of an affective community. More specifically, we examine how people afflicted by long-term, arduous experiences of war, migration, and discrimination sensually articulate and, at least temporarily, renegotiate feelings of non/belonging, care, and in/exclusion. Methodologically, we draw on emplaced ethnography and systematic phenomenological go-alongs with a group of elderly migrants, born and raised in different parts of Vietnam, who had arrived in Germany within different legal–political frameworks and who, during the time of our psychological–anthropological research, frequented the same psychotherapeutic clinic. We apply the notion of “affective communities” (Zink in Affective Societies: Key Concepts. Routledge, New York, 2019) to grasp how the group experienced a sensual place of mutual belonging outside the clinic when moving through different public spaces in Berlin as part of their therapy. Particular attention is paid to the participants’ embodied and emplaced memories that were reactivated during these excursions. Shared sensations and spatiality, we argue, made them feel they belonged to an ephemeral community of care that was otherwise hardly imaginable due to their distinct individual biographies, contrasting political attitudes, and ties to different social collectives. In analyzing this affective community, we highlight how significant spatio-sensorial modes of temporal solidification can be in eliciting embodied knowledge that positively contributes to therapeutic processes.
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Sass, Cara, Claire Surr, and Lorena Lozano-Sufrategui. "Expressions of masculine identity through sports-based reminiscence: An ethnographic study with community-dwelling men with dementia." Dementia 20, no. 6 (February 17, 2021): 2170–87. http://dx.doi.org/10.1177/1471301220987386.
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Background Despite increasing numbers of men living in isolation with dementia in the community, uptake of supportive interventions remains low. This may be because of limited availability of activities suited to men’s interests. One organisation reporting higher attendance from men is Sporting Memories, offering inclusive sports-based reminiscence and physical activities for men living with dementia. This study aimed to explore the impact of the Sporting Memories intervention on men living with dementia. Method This study was an ethnography employing techniques of participant observation, informal conversations and semi-structured interviews with group participants. Data were woven into a series of narratives using creative non-fiction, to bring life to the first-hand accounts of participants and experiences within a typical group setting. Findings The groups provided an environment for men with dementia to explore, reflect upon and reinforce their masculine identities through the subject of sport. Physical activities further facilitated this embodied demonstration for some, although this was not a feature of all sessions. Conclusions The content of Sporting Memories group sessions provides a vehicle for men to retain an important aspect of personhood. They also hold the potential to present opportunities for men to feel a sense of value by contributing to sessions in varied ways. Facilitators and volunteers require support and training to ensure this benefit is maintained.
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Igreja, Victor. "Negotiating Relationships in Transition: War, Famine, and Embodied Accountability in Mozambique." Comparative Studies in Society and History 61, no. 04 (October 2019): 774–804. http://dx.doi.org/10.1017/s0010417519000264.
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AbstractIn conflict-ridden communities, justice specialists gather evidence through verbal accounts and material vestiges of violations committed by repressive regimes and during warfare, to eventually lay legal charges against alleged perpetrators. Anthropologists and sociologists engage with similar contexts but have included conventional bodily rituals, routinized practices, and commemoration practices as sources of knowledge of violent pasts and struggles for historical justice, although without the intention of determining legal accountability. This article shifts from the prevailing focus on repressive regimes and warfare to analyze the famine continuum and expands the procedures for gathering evidence of violations. It shows how, in one Mozambique community, a contingent combination of singular bodily actions, collective imagination and negotiations, and kinship norms evolved and became instrumental in two ways: contested fragments of evidence of violations perpetrated during the experiences of the 1980s famine were refined, and local struggles for accountability conveyed through bodily actions were sustained. The ensuing embodied accountability reshaped relationships by overcoming silence and denial, exposing ordinary perpetrators of violations, and cementing memories of guilt in the landscape. To capture the diversity of legacies of violations marred by fragile evidence, we must be attentive to the versatility of singular bodily actions. We need to consider the multiplicity of meanings, contexts, and perpetrators and how those in conflict zones struggle with embodied accountability.
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Lin, Minhui, and Haichao Xu. "Subjective Bodily Experiences of Island Cyclists in Different Contexts: The Case of Hainan Island, China." Sustainability 14, no. 16 (August 16, 2022): 10176. http://dx.doi.org/10.3390/su141610176.
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A single subjective bodily experience is at the core of sports tourism activities, but the current literature on sports tourism largely ignores both the continuous and ephemeral experiential processes of individuals in mobile sports activities from a bodily perspective. In this study, we developed a “context–body–perception” framework and selected a sample of tourists from Hainan Island, China, in order to explore the embodied experience of cycling tourists, using a qualitative approach. We found that the contexts encountered by island cyclists could be divided into a human context and nonhuman context. The human context included the companion context, pan-companion context, and host context, and the nonhuman context comprised the natural context, mediated facility context, and digital technology context. The cyclists’ physical experiences and perceptions in multiple different contexts were inseparable from each other, and both were embedded in a specific context through the five senses, through the state of body and activity, through emotions and memories, and through interaction with a specific context, all of which formed a dynamic feedback system. Through bodily practices in different contexts, cyclists acquired meaningful representations of their bodies, social relationships, and self-worth. The findings of this study can enrich the study of embodiment in sports and recreation areas, as well as provide an initial foray into bodily research in island-based cycling.
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Sarbadhikary, Sukanya. "Religious Belief through Drum-Sound Experience: Bengal’s Devotional Dialectic of the Classical Goddess and Indigenous God." Religions 13, no. 8 (August 1, 2022): 707. http://dx.doi.org/10.3390/rel13080707.
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The epistemic question about what constitutes religious belief in non-Western contexts is addressed here through the ontology of sonic experience. I demonstrate that religious beliefs are habitually ingrained as long-sustaining visceral memories, when afforded by sensory—for instance, aural—affects. Bengal’s peculiar devotional milieu constructs a prototype of oppositions. On one end is the urban, classical, martial goddess, Durga, with elite histories of acquiring a high Brahmanical form, and whose autumnal rituals are based on scriptural rules, caste hierarchies, and distance among the devotees and deity. On the other end is the rural, indigenous, non-classical, peasant god, Shiva, whose spring-time worship celebrating primordial death and regeneration is based on intensely embodied and communitarian principles of identity among the caste-equal bodies of devotee men, and even their god. Based on immersive ethnographic analyses, the paper argues that these dual psychological ends of the regional sacred cosmos are made vividly real through differential perceptive experiences of percussion sounds (ubiquitous in these festivities), their varied tempos, textures, volumes, and rhythm modulations. Through phenomenological deep listening, I describe stark styles of making and playing the sacred membranophone drum, dhak, which embodies distinct rhythm styles, relationships with rituals, and psychophysical effects on the devotional ensembles. I show how the bodies of devotees, dhak players (dhakis), deities, and even the dhak, become tied to the tonalities of the drum, which is taught through generations of deft learning among dhakis, to sound distinctly when echoed for Durga and Shiva. The paper’s main argument is that these dhak sounds, which have remained a conceptual oversight in literature, not only aid in, but indeed, enable the experience of and belief in Bengal’s divergent deities. It is through such empowering sensory sedimentations of the different sounds of the same percussion, that people recognize, remember, and maintain the region’s devotional dialectic and complex religious lifeworld. In essence, the body’s powerful experiences of drum sounds make religious belief palpable and possible.
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Thomson, Jody, Sheridan Linnell, Cath Laws, and Bronwyn Davies. "Entanglements between Art-making and Storytelling in a Collective Biography on the Death of an Intimate Other." Departures in Critical Qualitative Research 7, no. 3 (2018): 4–26. http://dx.doi.org/10.1525/dcqr.2018.7.3.4.
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In this essay, the four authors explore the material and affective agency of art-making in a collective biography workshop. We work with our memories of the death of someone close to us, through stories, and through making art. Collectively we explore a specific, embodied moment of the particular deaths we have each experienced. The substantive focus of our work is methodological. We concern ourselves with what is made possible through including art-making in intra-action with the more usual storytelling/listening/writing/reading/making of collective biography.
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Kaskinen, Saija. "If the Borders Could Tell: The Hybrid Identity of the Border in the Karelian Borderland." Culture Unbound 6, no. 6 (December 15, 2014): 1183–205. http://dx.doi.org/10.3384/cu.2000.1525.14611183.
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This paper analyses the nature of the border. The paper poses the question of whether a border, in this case the national border between Finland and Russia in the Finnish Karelian border region, can have its own distinctive identity[ies], and if so, could the border itself be or become a hybrid – a border subject. To examine the hybridization process of the border, this paper draws on individual experiences of the border that are illustrated using interview material. In addition, by analysing historical documents, literature and historiography, the paper shows how the border has affected people’s relationship with the border itself and also their perception of regional landscapes, regional memories and identity. On the other hand, this process can be reversed by exploring how people have changed and embodied the border. The paper utilises the framework of John Perry’s theory of “reflective knowledge”, where both conscious experience and the knowledge it yields differ from physical knowledge that is explicitly characterized in terms of empirical facts. Exploring these relationships enhances our understanding of the role of “private knowledge” and its contribution to the understanding of borders.
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Green, Danielle J., Alison Harris, Aleena Young, and Catherine L. Reed. "Embodied valuation: Directional action is associated with item values." Quarterly Journal of Experimental Psychology 71, no. 8 (January 1, 2018): 1734–47. http://dx.doi.org/10.1080/17470218.2017.1360370.
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We have a lifetime of experience interacting with objects we value. Although many economic theories represent valuation as a purely cognitive process independent of the sensorimotor system, embodied cognitive theory suggests that our memories for items’ value should be linked to actions we use to obtain them. Here, we investigated whether the value of real items was associated with specific directional movements toward or away from the body. Participants priced a set of food items to determine their values; they then used directional actions to classify each item as high- or low-value. To determine if value is linked to specific action mappings, movements were referenced either with respect to the object (push toward high-value items; pull away from low-value items) or the self (pull high-value items toward self; push low-value items away). Participants who were assigned (Experiment 1) or chose (Experiment 2) to use an object-referenced action mapping were faster than those using a self-referenced mapping. A control experiment (Experiment 3) using left/right movements found no such difference when action mappings were not toward/away from the body. These results indicate that directional actions toward items are associated with the representation of their value, suggesting an embodied component to economic choice.
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Kasstan, Ben. "The taste of trauma: reflections of ageing Shoah survivors on food and how they (re)inscribe it with meaning." Scripta Instituti Donneriani Aboensis 26 (April 13, 2015): 349–65. http://dx.doi.org/10.30674/scripta.67461.
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Drawing on ethnographic research in the UK’s only support facility for ageing Jewish Shoah survivors, this paper charts the ‘foodways’ in a Centre where satiety is experienced as an emotional as well as a physical need. How the experience of genocidal violence and displacement give rise to particular tastes of trauma is explored, firstly through the symbolism of bread which is metaphorically leavened with meanings and memories of survival – both in Judaism and for the survivors interviewed. Bread is positioned as a true reflection of lived experience for survivors of both ghettoes and concentration camps, who construct a specific and salient relationship with food. This illustrates the perceived difference between them and members of the Centre who escaped the Nazi regime as refugees or by the Kindertransport. Foods associated with the concentration or extermination camps are (re)inscribed with new meanings, as a steaming bowl of Polish barley soup ultimately embodies the ingredients of memory but also the recipe of survival. It can also stew the nostalgia of pre-war lives for Eastern European Jews and their recollections of the heym (Yiddish, home). Food is a conscious strategy of care in the Centre that mediates the embodied trauma of participants, and this paper draws on comparative examples to argue that refugee and survivor communities more generally may possess culturally-significant relationships with food that remain poorly understood.
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Izod, John, and Joanna Dovalis. "Ogni pensiero vola: the embodied psyche in Terrence Malick's The Tree of Life." International Journal of Jungian Studies 6, no. 2 (May 4, 2014): 151–58. http://dx.doi.org/10.1080/19409052.2014.906484.
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The Tree of Life touches on embodiment of the soul in an early sequence covering courtship, marriage and the first pregnancy of a young couple. In a delicate formal scene, Mrs O'Brien, nearing full term, treads gently along a river's edge summoning infant souls luminous in white linen. She opens a minute book of life to one of them, preparing his entry through the iron gates that open on embodied life. Presently, the infant soul rises up from his underwater home beyond the reach of conscious awareness: Mrs O'Brien gives birth to her first son, Jack. This is the boy who will eventually become a middle-aged man in crisis. Ravaged then by grief for his long-dead younger brother and his own inability to live at peace with his family or himself, his memories, visions and reflections accumulate in a way that makes him a suffering Hermes for the early twenty-first century. The initiating episode of the infant's birth complements the embodied and affective experiences of those in the audience who accept the film's sensual invitation to steep themselves in the immense scale of its gorgeous sounds and images. They then discover on the pulse that, more than the history of one Texan family, it attempts nothing less than the necessary re-creation of the godhead for the early twenty-first century. Contrary to the rigid medieval dogmas of so many orthodox religions, The Tree of Life assures us not of a changeless eternity but rather the sacred and ceaseless metamorphosis of numinous energy.
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Arora, Kamal. "“I Get Peace:” Gender and Religious Life in a Delhi Gurdwara." Religions 11, no. 3 (March 18, 2020): 135. http://dx.doi.org/10.3390/rel11030135.
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In October and November of 1984, after the assassination of Prime Minister Indira Gandhi by her Sikh bodyguards, approximately 3500 Sikh men were killed in Delhi, India. Many of the survivors—Sikh widows and their kin—were relocated thereafter to the “Widow Colony”, also known as Tilak Vihar, within the boundary of Tilak Nagar in West Delhi, as a means of rehabilitation and compensation. Within this colony lies the Shaheedganj Gurdwara, frequented by widows and their families. Based on ethnographic fieldwork, I explore the intersections between violence, widowhood, and gendered religious practice in this place of worship. Memories of violence and experiences of widowhood inform and intersect with embodied religious practices in this place. I argue that the gurdwara is primarily a female place; although male-administered, it is a place that, through women’s practices, becomes a gendered counterpublic, allowing women a place to socialize and heal in an area where there is little public space for women to gather. The gurdwara has been re-appropriated away from formal religious practice by these widows, functioning as a place that enables the subversive exchange of local knowledges and viewpoints and a repository of shared experiences that reifies and reclaims gendered loss.
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Zhang, Yanshuo. "Tricking memory, remaking the city: Trompe l’oeil and the visual transformation of a historic city in China: Chengdu." Journal of Urban Cultural Studies 6, no. 1 (March 1, 2019): 3–29. http://dx.doi.org/10.1386/jucs_00001_1.
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This article discusses how Chinese cities are transforming in visually radical ways to reconfigure their historic memories. In the midst of ‘creative city campaigns’ sweeping over China, which emphasize the discovery and exploitation of the creative-historic-cultural elements of urban pasts, Chengdu, one of China’s ‘New First-tier Cities’, epitomizes the pivotal role that visual culture plays in facilitating urban change. Grounded in critical analysis of both indigenous urban-making strategies within China and Chinese cities’ borrowing of western visual practices, this article investigates how Chengdu, as an emerging metropolis in globalizing China, introduces trompe l’oeil-style photographic installations on the site of its famous Kuanzhai Alleys (Kuanzhai xiangzi) transformation project. Urban planners in Chengdu take advantage of trompe l’oeil (‘trick-the-eye’), a post-Renaissance Western artistic innovation, to blur the boundaries between memory and reality. By transforming a vernacular architectural heritage site in Chengdu into a modern interactive cultural Disneyland, urban planners create embodied interactivity on the current tourist site of the Kuanzhai Alleys. While tourists indulge in the enchanting pleasure of a bygone urban past revived through visual tricks on the site, the people of Chengdu criticize the transformed district for failing to represent the authentic memories of the city. By revealing how the Kuanzhai Alleys becomes a site of contested urban experiences, the article probes the role of artistic creations in mediating memory and reality, the past and the present in fast-changing Chinese cities.
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Jarmołowicz-Dziekońska, Małgorzata. "Exilic representation and the (dis)embodied self: memory and photography in Yoshiko Uchida’s , autobiography Desert Exile: The Uprooting of a Japanese-American Family." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 31 (2019): 148–71. http://dx.doi.org/10.15290/idea.2019.31.09.
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Photography and memory seem to be inextricably bound up with each other, as photographs can invoke memories which help to excavate past moments with vivid details. Yoshiko Uchida in her autobiography, Desert Exile: The Uprooting of a Japanese-American Family (1982), delves into her past experiences through the lens of counter-memory, i.e. the memory of the minor and the subjugated. The Japanese-American author strives to recover the past by means of photographic images which—blended into written reminiscences— uncover yet another plane of articulation. Individual memory has enabled the author to chisel her own identity with textual and photographic means of self-expression. Constructing her autobiographical confession, Uchida also draws upon the collective memory of the war internment of the Japanese and Japanese Americans, which inevitably shaped her present self. A set of photographs which accompanies her account testifies that the ocular dimension can be as powerful as the textual one. Each photograph contains a stratum of data which deprives the text of its autonomy and grants it an equal status of signification.
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Kasstan, Ben. "Tokens of trauma: The ageing experience of Shoah survivors in a Jewish support centre." Anthropology & Aging 36, no. 1 (May 22, 2015): 26–44. http://dx.doi.org/10.5195/aa.2015.81.
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This paper explores the traumatic memories of ageing Shoah survivors who attend a Jewish social and therapeutic support facility in London (UK). The study investigates the perceived differences in trauma within a diverse group of members who partake in the day centre. The difference in Shoah experience contextualises how survivors of ghettos and concentration camps possess a salient relationship with food, notably bread which acts as an enduring symbol of catastrophe for participants. The meanings that underlie death amongst camp survivors are evaluated, where decisions regarding the end of life stage can be interpreted as a shared experience with those who perished during the Shoah. Results exemplify how religious and cultural elements of Judaism mediate the trauma that has become thoroughly embodied for participants. survival is steeped in intersubjective acts of remembrance, offering a novel contribution to the anthropological study of genocide.
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Lehrer, Erica, and Magdalena Waligórska. "Cur(at)ing History." East European Politics and Societies: and Cultures 27, no. 3 (February 26, 2013): 510–44. http://dx.doi.org/10.1177/0888325412467055.
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In the past few decades, Poland has seen a growing number of attempts to reclaim its Jewish past through traditional forms such as historiographic revision, heritage preservation, and monument building. But a unique new mode of artistic, performative, often participatory “memory work” has been emerging alongside these conventional forms, growing in its prevalence and increasingly catching the public eye. This new genre of memorial intervention is characterized by its fast-moving, youthful, innovative forms and nontraditional venues and its socially appealing, dialogic, and digitally networked character as opposed to a prior generation of top-down, slow moving, ethnically segregated, mono-vocal styles. It also responds to the harsh historical realities brought to light by scholars of the Jewish-Polish past with a mandate for healing. This article maps the landscape of this new genre of commemoration projects, identifying their core features and investigating their anatomy via three case studies: Rafał Betlejewski’s I Miss You Jew!; Public Movement’s Spring in Warsaw; and Yael Bartana’s Jewish Renaissance Movement in Poland. Analyzing their temporalities, scopes, modalities and ambiences, as well as the new visions for mutual identification and affiliation that they offer Poles and Jews, we approach these performances not as representations, but rather as embodied experiences that stage and invite participation in “repertoires” of cultural memory. Different from simple reenactments, this new approach may be thought of as a subjunctive politics of history—a “what if” proposition that plays with reimagining and recombining a range of Jewish and Polish memories, present-day realities, and future aspirations.
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Jarusriboonchai, Pradthana, and Kaisa Väänänen-Vainio-Mattila. "Using Mobile Technology to Bring Families Together." International Journal of Mobile Human Computer Interaction 4, no. 2 (April 2012): 1–17. http://dx.doi.org/10.4018/jmhci.2012040101.
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Increased use of digital technology, such as social media or individual entertainment systems, may lead to less face-to-face communication between family members. This paper presents a two-phase design research study on a novel use of technology that could help reconnect co-located family members. The authors present the design qualities for a domestic technology that can increase the level of social interaction within a family. These design qualities provide a guideline for the second phase, in which a novel system concept, FAMEX, is designed to support discussion about family experiences. FAMEX is based on the concept of family history, and involves the creation, finding, and discussion of family memories, which are represented as virtual notes around the home. The design emphasizes ludic values in the form of playful stimulants to face-to-face discussion. Mobile devices, together with augmented reality and embodied interaction, are utilized within the home context: this combination has the potential to raise curiosity and interest, and therefore, encourage ongoing use of the system. In an iterative user study, with prototypes of various fidelities, the participants rejected the features of formal game play, but gave positive feedback to the main features of FAMEX.
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Herouach, Sofian. "A Psychoanalysis Reading of Mary Turner’s Character in Lessing’s The Grass is Singing." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 151–76. http://dx.doi.org/10.24093/awejtls/vol4no4.11.
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Lessing’s work The Grass is singing sheds significant light on several socio-cultural, political, gender, feminist and psychological issues. Racism is probably one of the most important themes of the work. However, the psychological dimension of this novel is also predominant. This aspect is embodied mainly through the protagonist, Mary Turner. Mary’s troubled experiences and unconscious accumulations cause her much suffering and pain in her adult life. The present study is an attempt to investigate the character of Mary from a psychoanalytic perspective. It aims to shed light on the variables that overlap during Mary’s successive life stages to end up in her being murdered. In other words, the study analyses how the accumulated experiences of Mary’s childhood past, reinforced by present hardships, led her to develop psychological complexes and act upon them to end in her tragic death. This study is important in the sense that it may help explaining numerous psychological disorders by referring them to childhood events and socio-cultural factors. In other words, the present study builds on the following question: to what extent childhood events and socio-cultural troubles could lead to psychological traumas and disorders? Briefly, the study findings proved that Mary’s traumatic childhood and its unconscious painful memories were determinant factors to manifest character aberrations like hatred and aggressiveness. Moreover, the study concludes that Mary’s subsequent socio-cultural pressures intensified her psychological reactions until coincided with the avenging character, Moses who murders her.
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O’Dell, Emily Jane. "Yesterday is not Gone." Journal of Global Slavery 5, no. 3 (October 22, 2020): 357–401. http://dx.doi.org/10.1163/2405836x-00503006.
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Abstract Histories, memories, and legacies of slavery in Zanzibar have been rendered into words and images in autobiographies, novels, and films. In the 18th and 19th centuries, Zanzibar served as the main slave trading point in East Africa for the Indian Ocean slave trade, and its economy flourished on a slave-based plantation system. Memoirs by British missionaries and former slave owners from Zanzibar bear witness to the relational complexities of enslavement and the embodied realities of manumission, patronage, and (im)mobility. Postcolonial fiction writers from Zanzibar and the Sultanate of Oman have challenged the imposed silences around racialized and gendered violence in Zanzibar and Oman, and confronted the racism and Islamophobia inherent to the diasporic experience of Zanzibaris in Europe. In addition to the curation of former spaces related to slavery in Zanzibar, like the Slave Market, for tourist consumption, film has also emerged as a contested vehicle for representing Zanzibar’s slave past and breaking the silence on this still taboo topic. In the absence of a coherent narrative or archive of Zanzibar slavery past and modern revolutionary present, memories of slavery, sexual labor, and resistance embedded in memoirs, fiction, and film reveal the contested imaginaries of ethno-racial-cultural-national-religious identities, the imperial underpinnings of abolition, and the dissociative dissonance of the diaspora in the wake of Zanzibar’s revolutionary rupture.
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Drotner, Kirsten. "Medierade minnen: radio, film och formandet av unga kvinnors kulturella identiteter." Tidskrift för genusvetenskap 20, no. 4 (June 16, 2022): 10–24. http://dx.doi.org/10.55870/tgv.v20i4.4426.
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The artide analyses ways in which the media may operate in relation to our memories: media may be means through which memories are preserved (e.g. family photographs), or media may be objects of specific memories (e.g. a particular film). Based on in-depth lifephase interviews with ten women born between 1917 and 1927, the study focuses on the importance of radio and film in memory since these were the two new mass media flourishing when these women were young. It is argued, in theoretical terms, that modernity and memory are closely linked and that if we adopt a inverse gendered perspective, young women emerge as "everyday pioneers of modernity" thus counterbalancing conventional, masculine discourses on modernity. In so far that we mostly analyse occurences after the event, I argue that, in epistemological terms, theories of memory are closely connected to interpretive forms of analysis. It is demonstrated that radio is lodged in the shared family space, its programs, irrespective of its contents, operates as an important window to the world. This is particularly true for young women from the working classes, which is a finding that serves to balance institutional analyses of public-service radio as a restrictive middle-class forum. The women in this study experience the cinema, operating as it does in a semi-public sphere, as one of the only havens of autonomy and romance - the latter not being limited to the screen. Films and film stars become venues for testing style and fashion thus creating an embodied space of experimentation. Many of the women see as this as a demonstration that their bodies can be formed, contoured. In other words, the results of the study serve to counterbalance received notions that the malleable body has only come to the forefront of women's own attention within the last generation or two.
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Park, Ju Hyeong. "The Direction of Reunification Literary Education Focusing on Memories of Division : Focusing on the process of recognizing the experiences of violence embodied in Kim Won-il"s –Noeul-." Journal of the Humanities for Unification 91 (September 30, 2022): 187–219. http://dx.doi.org/10.21185/jhu.2022.09.91.187.
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Reinelt, Janelle. "National signs: Estonian identity in performance." Sign Systems Studies 33, no. 2 (December 31, 2005): 369–78. http://dx.doi.org/10.12697/sss.2005.33.2.06.
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Since Estonia is in the midst of a national redefinition and examination of past traditions and future aspirations, it makes an excellent case study for the potentiality of theatre as an arbiter of national identity. The changing value of the institution itself is part of the equation (will Estonians continue to appreciate and attend the theatre in coming years?). In addition, the historical role of Estonian theatre as a repository for national narratives, especially literary ones, makes it a significant site for struggles around print and technology, and between embodied performances and archival performatives. This essay introduces a series of articles that address how Estonia and its theatre might be regarded and understood in light of its history, memories, present experiences, and future possibilities. The idea of pretence that lies at the heart of theatricality itself provides an ideal means for interrogating national identity in a time of great instability and flux. The examples of productions discussed in these three essays share more than a deliberate utilization of the rubrics of theatricality. It seems no coincidence that the reworking of national classics, Estonian national myths, and ethnic folk songs and ceremonies takes place concurrently with the representation of new technologies, commodity capitalism, and diasporic collisions. Embodying precisely the predicament of culture in a country reassessing its past and confronting its future, the theatre is an important institution for national resignification.
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Hassan, Mehdia. "Wounds: Commemorative Tattoos, Collective Trauma, and the Afghan-Canadian Identity." in:cite journal 3 (August 31, 2020): 34–51. http://dx.doi.org/10.33137/incite.3.34718.
Full textAbstract:
The painting Wounds reimagines how nonwhite and “vulnerable” bodies are expected to exist in society. Inspired by The Tattoo Project and how commemorative tattoos meaningfully integrate love and loss into “good grief” (Davidson, 2016), the painting re-imagines commemorative tattoos as wounds that result from collective and intergenerational trauma. The painting Wounds uses a social justice lens to depict how traumatic histories can be embodied in the cultural identities of future generations of the Afghan diaspora and how tattoos materialize these memories. I demonstrate this by critically analyzing my lived experience of my cultural identity. This collective trauma is so strongly embedded into my ancestors’ collective identities as Afghans, that I also see the traumatic history to be part of who I am. This autobiographical artwork and accompanying critical analysis allow for the reclamation of my Afghan cultural identity by resisting Western pressures to conform. In being vulnerable about my past, I redefine vulnerability. I remember and honour the courage, sacrifice, and resilience of my Afghan ancestors who have endured violence and wars; which has contributed to the formation of my hyphenated, Afghan-Canadian identity. I recognize that the Afghan-Canadian identity is multidimensional, multi-faceted, and incredibly nuanced. My own experiences of my Afghan-Canadian identity deeply inform and enrich this critical analysis. In this critical analysis, I am by no means generalizing the experiences of Afghan-Canadians, as every individual’s experience is valid and distinct
The three commemorative tattoos depict the Canadian maple leaf, my name “Mehdia” written in Persian, and the geographical shape of Afghanistan. The painting reimagines and redefines what it means to collectively heal, both literally and figuratively. It questions whether healing is still necessary because it implies that wounds disappear, and with them, the disappearance of deep social histories that construct my Afghan-Canadian identity. Using my original painting as an arts-integrated method of inquiry, I offer a multidisciplinary portrayal of how memory is materialized on the body. This written analysis and painting creatively and critically articulate the strength and beauty that comes with vulnerability when historical and cultural wounds are resurfaced. This work further provokes deeper discussion and dialogue about the need to make meaning of the collective trauma that is ingrained within one’s cultural identity.