Tahrir Memoirs: Radwa Ashour and Mona Prince

2017 ◽  
Author(s):  
Tahia Abdel Nasser
Keyword(s):  
First Century ◽  
University Campus ◽  
New Form ◽  
Tahrir Square ◽  
Twenty First Century ◽  
The University

This chapter examines new Arab memoirs and the effects of the Arab revolutions in the twenty-first century on the genre. The genre of the Tahrir memoir, a form that focuses on subjectivity in the broader movement rather than solitude, reworks Arab memoirs in the twenty-first century. Radwa Ashour and Mona Prince wrote new memoirs that chronicle the writers’ involvement in Egypt’s 2011 revolution. The chapter focuses on Ashour’s Heavier than Radwa: Fragments of an Autobiography (2013) and the posthumously published The Scream (2014), including The Journey (1983) and Specters (1999), with Mona Prince’s Revolution Is My Name (2012). Both Ashour and Prince offer a new form in which writing, activism, the university campus, and Tahrir Square are deeply intertwined, with parts that focus on the writers’ medical or professional crises within Egypt’s revolution.

Study on the University Campus Subculture under the Guidance of the Construction of Ecological Civilization

2014 ◽  
Vol 507 ◽  
pp. 851-854
Author(s):  
Dong Bo Cao
Keyword(s):  
New World ◽  
Ecological Theory ◽  
First Century ◽  
Campus Culture ◽  
University Campus ◽  
Ecological Civilization ◽  
Ecological Development ◽  
Construction Strategy ◽  
Twenty First Century ◽  
The University

From the perspective of ecological criticism, this paper made ecological civilization construction extend into the field of education, and combined the ecological theory with the university campus practice, and discussed the construction strategy of university campus sub-culture, so that we can create a new world of ecological campus, and realize the ecological development of university campus culture in twenty-first century, which regarded the construction of ecological civilization as the guiding ideology.

Out of the box, onto the web: Digitizing images in the Tuzin Archive for Melanesian Anthropology

2020 ◽  
Vol 8 (2) ◽  
pp. 251-268 ◽  
Author(s):  
Cristela Garcia-Spitz ◽  
Kathryn Creely
Keyword(s):  
Twentieth Century ◽  
San Diego ◽  
New Technologies ◽  
First Century ◽  
University Of California ◽  
Online Access ◽  
Twenty First Century ◽  
The University ◽  
Archival Practices ◽  
The Web

How are ethnographic photographs from the twentieth century accessed and represented in the twenty-first century? This report from the Tuzin Archive for Melanesian Anthropology at the University of California San Diego Library provides an overview of the photographic materials, arrangements and types of documentation in the archive, followed by summaries of specific digitization projects of the photographs from physician Sylvester Lambert and anthropologists Roger Keesing and Harold Scheffler, among others. Through the process of digitization and online access, ethnographic photographs are transformed and may be discovered and contextualized in new ways. Utilizing new technologies and forming broad collaborations, these digitization projects incorporate both anthropological and archival practices and also raise ethical questions. This is an in-depth look at what is digitized and how it is described to re/create meaning and context and to bring new life to these images.

Multisituated

2021 ◽  
Author(s):  
Kaushik Sunder Rajan
Keyword(s):  
Knowledge Production ◽  
First Century ◽  
Conditions Of Possibility ◽  
Political Intervention ◽  
Twenty First Century ◽  
The University

In Multisituated Kaushik Sunder Rajan evaluates the promises and potentials of multisited ethnography with regard to contemporary debates around decolonizing anthropology and the university. He observes that at the current moment, anthropology is increasingly peopled by diasporic students and researchers, all of whom are accountable to multiple communities beyond the discipline. In this light, Sunder Rajan draws on his pedagogical experience and dialogues to reconceptualize ethnography as a multisituated practice of knowledge production, ethical interlocution, and political intervention. Such a multisituated ethnography responds to contemporary anthropology’s myriad commitments as it privileges attention to questions of scale, comparison, and the politics of ethnographic encounters. Foregrounding the conditions of possibility and difficulty for those doing and teaching ethnography in the twenty-first-century, Sunder Rajan gestures toward an ethos and praxis of ethnography that would open new forms of engagement and research.

The Trial That Never Was: Russian Documentary Theatre and the Pursuit of Justice

2014 ◽  
Vol 30 (4) ◽  
pp. 307-317 ◽  
Author(s):  
Molly Flynn
Keyword(s):  
Real Life ◽  
Time Span ◽  
First Century ◽  
Documentary Theatre ◽  
Avant Garde ◽  
University Of Cambridge ◽  
Doctoral Candidate ◽  
Twenty First Century ◽  
The University ◽  
Judicial History

Twenty-first-century Russian theatre artists have increasingly taken to using material from real-life events to explore the intricacies of injustice in the civic sphere and its connection to the country's past. In a fifteen-year time span documentary forms have come to the forefront of Russia's theatrical avant-garde. In this article Molly Flynn offers a close reading of one of the most politically charged productions to have emerged from Moscow's booming documentary theatre – One Hour Eighteen: the Trial that Wasn't but Should Have Been (2010). The play uses verbatim texts from the prison and medical staff directly involved in the final days before the murder of Russian attorney Sergei Magnitskii in 2009. Setting the piece in a theatrical courtroom, the creators of One Hour Eighteen place their work in the context of Russia's judicial history in the previous century, during which the resemblance of trials to theatre has often been uncomfortably close. Molly Flynn is a doctoral candidate in Slavonic Studies at the University of Cambridge. She is currently completing her doctoral thesis on the history and significance of documentary theatre in twenty-first-century Russia.

Sign in / Sign up

Export Citation Format

Share Document