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Arjun Claire

been conceived as a triumph of reason and rationality over emotions. To the extent it relies on emotions, it carefully directs them through curated narratives deployed in the realisation of predetermined advocacy objectives ( Fernandes, 2017 : 2). With humanitarian actors increasingly engaging in specific thematic issues and policy changes, they have privileged authoritative facts that positions them as experts, enhancing their legitimacy in the eyes of decision

Journal of Humanitarian Affairs
Open Access (free)
Humanity and Solidarity
Tanja R. Müller and Róisín Read

-called evidence-based advocacy, that seems to leave little room for emotion and compassion, in similar ways has disempowered affected populations and ignored their aspirations. In demonstrating the various forms these real or imagined tensions between reason and emotion have taken in the history of témoignage , the article advances the argument that témoignage still has the potential to show real solidarity with affected populations and take their own life worlds and aspirations seriously – and in doing

Journal of Humanitarian Affairs
German Responses to the June 2019 Mission of the Sea-Watch 3
Klaus Neumann

Mission Lifeline’s Lifeline , who was tried in a Maltese court in 2018–19, seemed to be in a much better position to appeal to mainstream Germans, being middle-aged, male and a self-confessed conservative who used to vote for the Christian Social Union; however, his court case had not attracted nearly as much attention as Rackete’s. Third, particularly vulnerable, innocent and/or deserving victims, whose mediatised suffering often prompts an outpouring of public emotion, were never the focus of the narrative about the Sea-Watch 3 . By the time the boat entered the

Journal of Humanitarian Affairs
Sean Healy and Victoria Russell

that novel information is both more surprising and more valuable to the one who possesses it. A further explanation for the more rapid spread of falsehoods is connected to the emotions it evokes: not only greater surprise but also greater disgust, while truth more evokes stronger emotions of sadness, anticipation, joy and trust. As a result, even ideas which might once have been considered ‘fringe’ or ‘extreme’ can benefit mightily in the current

Journal of Humanitarian Affairs
Open Access (free)
Governing Precarity through Adaptive Design
Mark Duffield

modernism. Computers would, it was argued, allow the design capabilities and expertise of professionals to be transferred to the popular masses ( Turner, 2006 ). In the mid 1970s, the architect Nicholas Negroponte 11 sought to eliminate professional privilege by facilitating public participation and ownership of the architectural design process through computer programming. The intention was to create ‘soft architectural machines’ that could translate human imperfections, anxieties and emotions into the rich architectural designs of a ‘new

Journal of Humanitarian Affairs
Middle-Aged Syrian Women’s Contributions to Family Livelihoods during Protracted Displacement in Jordan
Dina Sidhva, Ann-Christin Zuntz, Ruba al Akash, Ayat Nashwan, and Areej Al-Majali

York : Berghahn Books ). Ozkaleli , U. ( 2018 ), ‘ Displaced Selves, Dislocated Emotions and Transforming Identities: Syrian Refugee Women Reinventing Selves ’, Women’s Studies International Forum , 70 , 17 – 23 . Rabho , L. A. ( 2015

Journal of Humanitarian Affairs
Laura Suski

and intensive model of parenting, affects a more universal and collective call for a global international humanitarianism. While social media provides opportunities to share and discuss information about toy safety, it will be argued that emotion is an important part of humanitarian mobilisation, and that the emotions of consumption are often thwarted by the identity politics of consumption

in Global humanitarianism and media culture
Abstract only
Insects, drones and swarming in Ernst Jünger’s The Glass Bees
Andreas Immanuel Graae

danger. 2 Since ancient times, insect swarms have triggered uncanny emotions such as anxiety, paranoia and panic within human communities. During the twentieth century, these fears revived, although in an altered form, as they converged with fantasies of automation and emergent behaviour among intelligent machines. For instance, works such as Karel Čapek’s The Insect Play (1921) and Fritz Lang’s film Metropolis (1927) captured dystopic fears of an inhuman technological society through the creepy imagery of insectile machines. And during the Cold War, termites

in Drone imaginaries
Danielle Beswick, Niheer Dasandi, David Hudson, and Jennifer vanHeerde-Hudson

appealing to the emotions of pity and guilt is the only way to raise significant amounts of money. In the third section, we challenge this view, through an analysis of a 2017 Oxfam campaign and reporting on new research using survey experiments. We conclude by discussing how this potential to change the narrative fits within the broader shifts in UK–Africa relations since 2010. NGO appeals and UK public perceptions of Africa UK-based NGOs working in the international development sector have for many years worked across

in Britain and Africa in the twenty-first century
Lesley Pruitt and Erica Rose Jeffrey

The whole concept is kind of for the empathy. It's like movement-based learning … I can identify my emotions better when they're expressed through movement than when they're just cold to me. ‘Claire’, M4P founder, United States Imagine a crowded university classroom in Mindanao, on the edge of the active conflict region in the Philippines. The room is

in Dancing through the dissonance