How African Nova Scotians envision culturally relevant and sustaining pedagogy as civic repair

<div> <div> <div> <div> <p>This article presents findings that connect cultural trauma, culturally relevant and sustaining pedagogy and Black Canadians ' aspirations. African Nova Scotians constitute the largest multigenerational Black Canadian community, with 400years of presence in Atlantic Canada. Despite the end of de jure school segregation in 1954, African Nova Scotians’ social and cultural capital were not incorporated in curricular and pedagogical practices. Using the theoretical framework of cultural trauma, this article draws from a qualitative study conducted using semi-structured interviews and focus groups with sixty participants. A cultural trauma process takes place after a traumatic event and involves a cycle of meaning-making and interpretation that can result in demands for reparation or civic repair. This study illustrates how through the cultural trauma process grounded in their collective memory, African Nova Scotians articulate an aspiration for culturally relevant and sustaining pedagogy as a form of civic repair. This transformative pedagogy would facilitate a reconnection with their heritage and a fulfilment of the democratic goals of public education. </p> </div> </div> </div> </div>

How African Nova Scotians envision culturally relevant and sustaining pedagogy as civic repair

<div> <div> <div> <div> <p>This article presents findings that connect cultural trauma, culturally relevant and sustaining pedagogy and Black Canadians ' aspirations. African Nova Scotians constitute the largest multigenerational Black Canadian community, with 400years of presence in Atlantic Canada. Despite the end of de jure school segregation in 1954, African Nova Scotians’ social and cultural capital were not incorporated in curricular and pedagogical practices. Using the theoretical framework of cultural trauma, this article draws from a qualitative study conducted using semi-structured interviews and focus groups with sixty participants. A cultural trauma process takes place after a traumatic event and involves a cycle of meaning-making and interpretation that can result in demands for reparation or civic repair. This study illustrates how through the cultural trauma process grounded in their collective memory, African Nova Scotians articulate an aspiration for culturally relevant and sustaining pedagogy as a form of civic repair. This transformative pedagogy would facilitate a reconnection with their heritage and a fulfilment of the democratic goals of public education. </p> </div> </div> </div> </div>

Marital Practices of the Nahuas and Imposed Sociocultural Change in Sixteenth-Century Mexico

There are many sources that allowed scholars to study the nature and functions of polygamous marriages of the Nahua nobility. Very few studies, however, focus on the marital relations of the Nahua commoners. This article presents exploratory research into various kinds of marriages of the macehualtin—polygamy, sororate, and levirate. Based on the available material (early censuses, inquisitorial records, sixteenth-century accounts) it discusses the functions that these types of unions played in Nahua society. Moreover, it reflects on the effects that the Christianization and prohibition of such marriages had on Nahua society. The Nahuas could either reshape their communities, by adjusting to the new rules, or continue their precolonial practices in hiding. Either way, the imposed Christianization can be analyzed through the notion of the cultural trauma, which occurred when the Nahuas were forced to reshape their communities to adjust to the new rules.

The Right to Meaning: A Syrian Case Study

This article unsettles what the literature describes as the ‘central paradox’ of cultural trauma theory: the idea that while atrocities are most prevalent in the ‘non-western world’, successful cultural traumas have primarily emerged in western societies. Examining the engagement of exiled Syrian intellectuals with the traumatic events of the 2011 revolution-turned-war in their country, the author argues that it is not a failure in the ‘cultural trauma process’ itself that prevents horrific events in non-western contexts from becoming recognised as cultural traumas. Instead, it is the failure to translate narratives of wrongdoing into formal acknowledgements and material or symbolic reparations. This failure is articulated by Syrian intellectuals as a ‘denial of meaning’. Many Syrian intellectuals construed the emancipatory demands of the Syrian uprising as claims for a right to meaning, that is, demands to restore language and existential purpose through public engagement and the revival of politics and speech. Equally, they saw as ‘denial of meaning’ the reality that their trauma work did not prevent the endurance and gradual rehabilitation of the regime but was met instead with the relegation of the movement to the agenda of the War on Terror. Thus, building on the discourses of exiled Syrian intellectuals, the article presents the idea of the right to meaning as a framework for understanding global inequality. Such a framework rests on a perceived dichotomy between those entitled to ‘meaning’ and those whose lives are accepted and treated as devoid of it or denied it.

Incredible but Very Real: 3D Cinema and Trauma in the Wake of WWII and 9/11

<p>This thesis investigates Hollywood and global Hollywood 3D cinema at the height of its box office success, the early fifties, and from 2009-2014. Discourse surrounding 3D cinema in both periods is governed largely by technological and economic arguments. While this discourse holds some merit, it overlooks the cultural and historical background against which 3D cinema rose to prominence. Shifting research focus from the technological and economic to the cultural, this project uncovers the presence of trauma in 3D cinema of the fifties and D3D of the new millennium, and argues 3D cinema to be a privileged form to engage with traumatic themes. As trauma is uncovered in 3D cinema, connections are drawn between the narratives and poetics of the films discussed and post-traumatic themes prevalent in the US post WWII, and post September 11 respectively. Focusing on questions of representation, embodiment and temporality, which hold a central role both in 3D cinema and trauma theory, this project finds that 3D cinema narratives and poetics of each period resonated with the cultural trauma that preceded it.</p>

Incredible but Very Real: 3D Cinema and Trauma in the Wake of WWII and 9/11

<p>This thesis investigates Hollywood and global Hollywood 3D cinema at the height of its box office success, the early fifties, and from 2009-2014. Discourse surrounding 3D cinema in both periods is governed largely by technological and economic arguments. While this discourse holds some merit, it overlooks the cultural and historical background against which 3D cinema rose to prominence. Shifting research focus from the technological and economic to the cultural, this project uncovers the presence of trauma in 3D cinema of the fifties and D3D of the new millennium, and argues 3D cinema to be a privileged form to engage with traumatic themes. As trauma is uncovered in 3D cinema, connections are drawn between the narratives and poetics of the films discussed and post-traumatic themes prevalent in the US post WWII, and post September 11 respectively. Focusing on questions of representation, embodiment and temporality, which hold a central role both in 3D cinema and trauma theory, this project finds that 3D cinema narratives and poetics of each period resonated with the cultural trauma that preceded it.</p>

Change, Crisis, Perspective, and Identity in Two Novels by Rózsa Ignácz

For Hungarians who remained stuck beyond the borders after WWI, finding themselves in a foreign country from one day to the next, the historical trauma of the Trianon Treaty occasioned intercultural tribulations never experienced before. What the resulting Transylvanian literature discussed here is concerned with, however, is not what Jeffrey C. Alexander’s cultural trauma theory calls “the trauma process”, “the spiral of signification” (Alexander 2004, 11). Rather, it is concerned with “the indelible marks” “the horrendous event” left “upon group consciousness […] changing their future identity in fundamental and irrevocable ways” (Alexander 2004, 1). This literature displays a rich array of the management strategies of minority identity. Earlier I devoted a book to the identity types that ensued from those strategies (Dani 2016a). The present work is based on that monograph and moves on. This time I wish to focus on the key figures of two Rózsa Ignácz novels (Anyanyelve magyar and Született Moldovában) to demonstrate the complex identity patterns that an erosion of minority native language and culture, so destructive to identity, yields. The road that the Hungarian minority travels leads through a succession of active and reactive changes, crises, and modifications of perspective in the maze of minority versus hegemonic intercultural relations.1