Focusing on the productive sense of recognition that queer theorists have articulated in relation to the Gothic, this article proposes that the relationship which has developed between queer theory and Gothic fiction reveals the significant role the genre has played in the construction of ‘queerness’ as an uncanny condition.
Go Tell It on the Mountain sheds light on James Baldwin’s response to his Pentecostal religious inheritance. Baldwin writes protagonist John Grimes’s experience of “salvation” as an act of his own break with his past and the inauguration of a new vocation as authorial witness of his times. This break is premised on the experience of kairos, a form of time that was derived from Baldwin’s experience of Pentecostalism. Through John Grimes’s experience, Baldwin represents a break with the past that begins with the kairotic moment and progresses through the beginnings of self-love and the possibility of freedom enabled by this love. This essay contributes a new perspective on discussions of Baldwin’s representation of time and his relationship to Christianity.
This essay explores a link, previously unremarked, in the Southern Gothic novelist Flannery O’Connors The Violent Bear It Away (1960) between the drunkenness of the novels protagonist and the idiot child he is compelled to baptize. Inspired by the possibility that much of the canon of American literature contains a symbolic economy of alcohol – what John Crowley calls ‘the White Logic’ – I argue that aligning the child with intoxication produces a poetics of addiction that helps explain the redemptive, revelatory climax of the novel in which O’Connors protagonist fulfills his religious destiny. The novel thus calls for a more complex understanding in American Gothic literature of the protean nature of intoxication.
Taking its starting point from a socio-anthropological study combining biographical interviews, semi-structured interviews and ethnographic observations collected between 2016 and 2018 in Germany, France and the United States among Ovaherero and Nama activists, and also members of different institutions and associations, this article focuses on the question of human remains in the current struggle for recognition and reparation of the genocide of the Ovaherero and Nama from a transnational perspective. First, the text shows the ways in which the memory of human remains can be considered as a driving force in the struggle of the affected communities. Second, it outlines the main points of mismatches of perspective between descendants of the survivors and the responsible museums during past restitutions of human remains from German anthropological collections. Third, the article more closely examines the resources of Ovaherero in the United States in the struggle for recognition and reparation, the recent discovery of Namibian human remains in the American Museum of Natural History in New York City and the questions that it raises.
Established during the Guatemalan Peace Process, the Oslo Accord contemplates the question of compensating the victims of internal armed conflict. Not only was this accord founded on the principles of victims rights, but it also intends to contribute to the democratic reconstruction of Guatemalan society through a process of recognition of victims status and memory – intended to have a reconciling function. The article focuses on the work of two organisations implementing the Oslo Accord and aims to analyse the discourses and practices of the local actors and their perception of the application of victims rights. Civil society actors and members of the National Compensation Programme demonstrate different approaches both in practical work and in representations of what is right. However, revendication of local cultural values is present in all actors discourse, revealing their ambiguous position in regard to state government.
This edited transcript of conversations between an Apache cultural heritage professional, Vernelda Grant, and researcher Bridget Conley explores the knowledge that should guide the repatriation of human remains in the colonial context of repatriating Apache sacred, cultural and patrimonial items – including human remains – from museum collections in the United States. Grant provides a historical overview of the how Apache elders first grappled with this problem, following the passage of the Native American Graves Protection and Repatriation Act (1990) in the US Congress. She explains how and why community leaders made decisions about what items they would prioritise for repatriation. Central to her discussion is an Apache knowledge ecology grounded in recognition that the meaning of discrete items cannot be divorced from the larger religious and cultural context from which they come.
In recent years, exhumation campaigns of mass graves resulting from the armed conflict (1980–2000) between the Maoist guerrillas of PCP-Shining Path (Sendero Luminoso) and the States armed forces have increased in Peru. People in rural Andes, the most marginalised sectors of national society, which were also particularly affected by the war, are the main group concerned with exhumations. This article examines the handling, flow and re-appropriation of exhumed human remains in public space to inform sociopolitical issues underlying the reparation policies implemented by the State, sometimes with the support of human rights NGOs. How do the families of victims become involved in this unusual return of their dead? Have the exhumations become a new repertoire of collective action for Andean people seeking to access their fundamental rights and for recognition of their status as citizens? Finally, what do these devices that dignify the dead reveal about the internal workings of Peruvian society – its structural inequities and racism – which permeate the social fabric?
This article will query the ethics of making and displaying photographs of human remains. In particular, we will focus on the role of photography in constituting human remains as specimens, and the centrality of the creation and circulation of photographic images to the work of physical anthropology and bioarchaeology. This work has increasingly become the object of ethical scrutiny, particularly in the context of a (post)colonial politics of recognition in which indigenous people seek to recover dominion over their looted material heritage, including the remains of their dead. This ethical concern extends to the question of how and under what circumstances we may display photographs of human remains. Moreover, this is not just a matter of whether and when we should or should not show photographs of the remains of the dead. It is a question of how these images are composed and produced. Our discussion of the ethics of the image is, therefore, indivisible from a consideration of the socio-technical process by which the photographic image is produced, circulated and consumed.
). One reason that one might expect to see a rise of evaluation work over time within South Sudan is because of a recognition by donors in the 2000s that thousands of interventions had taken place but there was a dearth of evidence about what impacts had resulted ( Bennett et al. , 2010 ; Norad, 2016 ). These donors have continued to operate in the newly independent Republic of South Sudan, many of which have published evaluation reports identified by this study. Synthesis of Lessons Learned The following synthesis of lessons learned is presented based on
This article investigates the emotive potency of horror soundtracks. The account illuminates the potency of aural elements in horror cinema to engage spectators body in the light of a philosophical framework of emotion, namely, the embodied appraisal theories of emotion. The significance of aural elements in horror cinema has been gaining recognition in film studies. Yet it still receives relatively scarce attention in the philosophical accounts of film music and cinematic horror, which tend to underappreciate the power of horror film sound and music in inducing emotions. My investigation aims both to address the lacuna, and facilitate dialogue between the two disciplines.