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This essay analyses the literature on the foibe to illustrate a political use of human remains. The foibe are the deep karstic pits in Istria and around Trieste where Yugoslavian Communist troops disposed of Italians they executed en masse during World War II. By comparing contemporary literature on the foibe to a selection of archival reports of foibe exhumation processes it will be argued that the foibe literature popular in Italy today serves a political rather than informational purpose. Counterpublic theory will be applied to examine how the recent increase in popular foibe literature brought the identity of the esuli, one of Italy‘s subaltern counterpublics, to the national stage. The paper argues that by employing the narrative structure of the Holocaust, contemporary literature on the foibe attempts to recast Italy as a counterpublic in the wider European public sphere, presenting Italy as an unrecognised victim in World War II.
melding of cultural analysis with literature (Cabrera Torrecilla) and cartoons (Piyarathne) – bringing to the fore not simply calls for an ‘otherwise’ state of individual and collective being but also highlighting the non-linearity of experience and temporality. This has led us to see feedback in ambiguity as having value in social analysis. Feedback is in many ways linked with the
mirror image. As for the would-be hosts they remain inscrutable, not least because in the colonial environment a heritage of non-recognition disables them from playing the role of host. What might be called the ethnographic turn in my work is a response to this blocked path to reunion; it breaks out of the migrant solipsism or isolation twinned with nostalgia to consider the situation we find ourselves in historically, as the recapitulation of an older (and also abiding) history of failed recognition, eloquently preserved in the literature of Aboriginal colonisation
comprised of a capo and others responsible for fundraising, recruitment and creative ideas. While members are free to share ideas, the majority of members follow their leadership. Conflict with leadership either leads to power battles or the formation of new groups. The contradictions of the literature are partly a result of the complex processes at work within the ultras movement. On the one hand, the ultras are fragmenting and smaller groups are emerging. This is leading to conflict and differentiation within fan bases. On the other, it shows how ultras of different
Since their emergence in Italy in 1968, ultras have become the most dominant style of football fandom in the world. Since its inception, the ultras style has spread from Southern Europe across North Africa to Northern and Eastern Europe, South East Asia and North America. This book argues that ultras are an important site of enquiry into understanding contemporary society. They are a passionate, politically engaged collective that base their identity around a form of consumption (football) that links to modern notions of identity like masculinity and nationalism. The book seeks to make a clear theoretical shift in studies of football fandom. While it sits in the body of literature focused on political mobilisations, social movements and hooliganism, it emphasises more fundamental sociological questions about group formation, notably collective performances and emotional relationships. By focusing on the common form of expression through the performance of choreographies, chants and sustained support throughout the match, this book shows how members build an emotional attachment to their club that valorises the colours and symbols of that team, whilst mobilising members against opponents. It does this through recognising the importance of gender, politics and violence to the expression of ultras fandom, as well as how this is presented on social media and within the stadium through specular choreographies.
, dreamlike feelings, collective imagination and world-building. This guideline helps us to pay attention to the influence that hyperfiction exerts on everyday life, providing frameworks for rethinking complex situations in times of crisis. Throughout, I highlight a theoretical stance in which literature is entangled with anthropology (Caughey, 1984 ; Barber, 2007 ; Behar, 2009
treatment sustainable and replicable across localities, to ensure that the risk of transmission of infectious strains is limited and the potential amplification of drug-resistance is avoided. These standards are constrained by local and health-system capacities. This chapter examines the tension between standardization and localization in efforts to control TB through the DOTS strategy. It uses anthropological and sociological literature that has (often critically) discussed the DOTS strategy and examples from past empirical fieldwork in 2008 and 2009
topics that since the beginning of the twenty-first century have been discussed in migration literature, especially in relation to lifestyle and tourist mobilities (e.g. Walsh 2007 , 2009 ). In the 2000s migration scholarship turned to investigate the role of emotions and sexuality in migration in what has been termed as an ‘emotional turn’ (King 2002 ), a ‘sexual turn
called “transmigration” or “commuting” by the literature specializing in the borders between Mexico and the United States. The authors opted for the term “circular migration” to indicate that female displacements in the Andean Tri-border are marked by repetitive patterns of movements with stays of three months on whichever side of the border combined
The looking machine calls for the redemption of documentary cinema, exploring the potential and promise of the genre at a time when it appears under increasing threat from reality television, historical re-enactments, designer packaging and corporate authorship. The book consists of a set of essays, each focused on a particular theme derived from the author’s own experience as a filmmaker. It provides a practice-based, critical perspective on the history of documentary, how films evoke space, time and physical sensations, questions of aesthetics, and the intellectual and emotional relationships between filmmakers and their subjects. It is especially concerned with the potential of film to broaden the base of human knowledge, distinct from its expression in written texts. Among its underlying concerns are the political and ethical implications of how films are actually made, and the constraints that may prevent filmmakers from honestly showing what they have seen. While defending the importance of the documentary idea, MacDougall urges us to consider how the form can become a ‘cinema of consciousness’ that more accurately represents the sensory and everyday aspects of human life. Building on his experience bridging anthropology and cinema, he argues that this means resisting the inherent ethnocentrism of both our own society and the societies we film.