historical narratives
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2022 ◽  
pp. 136843022110621
Author(s):  
Sophie Trawalter ◽  
Nana-Bilkisu Habib ◽  
James N. Druckman

Narratives about Africa as dark, depraved, and diseased justified the exploitation of African land and people. Today, these narratives may still have a hold on people’s fears about disease. We test this in three (pre-COVID-19) experiments ( N = 1,803). Across studies, we find that participants report greater worry about a pandemic originating in Africa (vs. elsewhere). In turn, they report greater support for travel bans and for loosening abortion restrictions. We then document these narratives in an archival study of newspaper articles of the 2015–2016 Zika pandemic ( N = 1,475). We find that articles were more negative—for example, they included more death-related words—if they mentioned Africa. Finally, we replicate the experimental results within the COVID-19 context, using a representative sample ( N = 1,200). Taken together, the studies make clear that reactions to pandemics are biased, and in a way consistent with historical narratives about race and Africa.


2022 ◽  
Vol 2 ◽  
pp. 61-75
Author(s):  
Reka Deim

This paper explores how art contributes to the articulation of memories that counter the official historical narrative of Hungary’s self-proclaimed political and ideological system, illiberal democracy. Amid deepening polarization between Europe’s post-colonialist and post-socialist countries, the Hungarian government promotes a Christian conservative national identity against the “liberal” values of Western Europe. Systematic appropriation of historical traumas is at the core of such efforts, which largely manifests in removing, erecting and reinstating memorials, as well as in the re-signification of trauma sites. Insufficient civic involvement in rewriting histories generates new ways of resistance, which I demonstrate through the case study of a protest-performance organized by the Living Memorial activist group as a response to the government’s decision to displace the memorial of Imre Nagy in 2018. I seek to understand the dynamics between top-down memory politics, civil resistance and art within the conceptual apparatus of the “memory activism nexus” (Rigney 2018, 2020) and “multidirectional memories” (Rothberg 2009). I argue that artistic memory activism has limited potential to transform the dynamics of memory in a context where a national conservative political force has gradually taken control over historical narratives, triggering inevitably polarizing responses in the society. Although profoundly embedded in local histories, the case-study may offer new ways of negotiating traumatic heritages through the entanglement of art and memory activism.


2022 ◽  
pp. 69-80
Author(s):  
Juliana Hodkinson

Prompt, Immediate, Now / Very Restrained and Cautious (2013), Defending Territory in a Networked World (2013) and Afgang 04.00 (2017) are three sound pieces that lean on events of historical proportions. They involve addressing the artistic challenge of letting difficult historical narratives resonate in the present. The artistic process for all three works involved finding fitting modes of reenactment and providing a present-day position on why and how these materials may be incorporated in artworks today, as well as contributing to historical revision and political resistance.


Author(s):  
Marvin T. Brown

AbstractTo change the course of the unsustainable trends of American Prosperity, we must change the social climate of injustice that allows it to continue. This change entails three operations: create an interpretive framework that covers the key components of our living systems, tell coherent stories that include past injustices and places to repair them, and create a civic space that enables us to create a climate of justice. The four components of the interpretive framework are the Earth, our humanity, the social, and the civic. The historical narratives are stories guided by the principle of coherence, which reveal opportunities to change the current course of history. Making such changes involves civilians entering civic spaces where they can invite citizens to care for justice and for future generations.


2022 ◽  
pp. 151-159
Author(s):  
Malin Arnell

In this fifteen-minute lecture-performance, Malin Arnell presents her dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane and Arnell’s historical intra-action, this ongoing dialogue explores performance art documentation and historical narratives. The project interrogates the operations of archives, asking: ‘How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?’ ‘Whose bodies remain present, and which bodies are lost?’ The framework of the work — its repetition with variations and its artistic and queer feminist methodologies — enables an exploration of history, documentation, and bodily epistemology as an attempt to take responsibility for what is not known by doing, through action — through performance.


Poligrafi ◽  
2021 ◽  
pp. 235-260
Author(s):  
Ulaş Sunata

The 2014 Sochi Olympic Winter Games revived memories related to the Circassians’ forced migration from their Caucasus homeland into the Ottoman Empire after 150 years. In that year, I conducted a considerable oral history project to understand the collective memories of Circassians in Turkey. The main focus of this study is, however, the social construction of the Circassian minority in Turkey. I examine their oral historical narratives related to their immigration, reception and resettlement, and instrumentalization. It is as important to place emphasis on the protected, multiplied and renewed sociocultural values of Circassians as it is to confront the history. I will examine the relationship between their diasporic identity and minority identity as well as their preferences in identity reproduction.


2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Pierre Volle

Purpose This study aims to illustrate how firms engage in rhetorical history, i.e. “the process by which managers skillfully impose meaning on a firm’s past as a persuasive and agentic process” (Suddaby et al., 2010). The case study shows that the connection of past events to specific and schematic narratives allows external events to be appropriated and used by Starbucks as assets to achieve its organizational goals (e.g. legitimacy). Design/methodology/approach The study is based on a close reading and coding of 1,852 “stories” (2,470 pages) published by Starbucks between 2003 and 2020. Findings The authors first show that Starbucks’ language relies heavily on terms referring to temporality. The authors then highlight the organization’s efforts to assert its history, to emphasize its heritage and to inscribe itself in local and national histories. With this case study, the authors contribute to the ongoing debate on history as an organizational resource. The study shows how brands that are not necessarily “historical” can mobilize rhetorical history in their strategic marketing. Research limitations/implications This case study illustrates four heritage implementation strategies: narrating, visualizing, performing and embodying. Further research could contribute to the discussion of rhetorical history production practices, in particular how heritage elements are validated, articulated, related and adopted by organizations (Burghausen and Balmer, 2014). Originality/value The research shows that the main mechanism for constituting social memory assets does not lie in the accumulation of narratives, but in the coupling of narratives at different levels, and in the inclusion of several stakeholders within the narratives. The research also highlights that the affirmation of the historicity of the firm is a prerequisite for the constitution of social memory assets. The research shows that there are a wide variety of ways to convey historical narratives, in particular the essential role leadership plays in the rhetorical process of historicization. The research also shows that the issues of identity and legitimacy are more closely linked than previous research has suggested. In a way, rhetorical history serves strategic management as much as marketing. The porosity between the different audiences allows for a strong alignment between stakeholders, thus consolidating a competitive advantage that lies at the heart of Starbucks’ success, and which notably contributes to reinforcing its core value proposition (i.e. access to a “welcoming, safe and inclusive” third place) and its relational business model. Finally, the case shows that the mobilization of social memory assets does not necessarily lead to the use of nostalgic associations. In this case, for Starbucks, it is not a matter of cultivating memories of the “good old days” but of drawing inspiration from the past, of maintaining traditions to remain culturally relevant and of relying on these assets to project itself into the future.


2021 ◽  
Vol 10 (2) ◽  
Author(s):  
Junghee Kim

This article focuses on the story ‘Mabuigumi’ (‘Spirit Stuffing,’ 1998) by Medoruma Shun, a contemporary writer of Okinawan descent. The story explicitly depicts the history of the Battle of Okinawa and the people who were traumatized by the war. First, this article demonstrates that landscapes and living things evoke memories of the war and people, and they play a significant role in showing that people’s present lives remain threatened. Second, the article conjectures that an āman (a hermit crab) represents Okinawa, which was traumatized by the mainland, and shows that Uta (the protagonist) is burdened by the guilt of her own survival. In addition, it considers the love of a mother (Omito) and son (Kōtarō) for each other. Third, this article illustrates that the history of the mainland was decentralized through visual expressions of personal memories of war. The history of mainland Japan does not regard the fact that Japanese soldiers killed Okinawans during the Battle of Okinawa. History, as officially narrated by the Okinawans, changes its narrative content depending on the shifting relationship between Okinawa and the mainland. This work relativizes and decentralizes the official historical narratives of the mainland and Okinawa through repressed personal memories of the war.


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