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Looking for Bosnia

Developed through a series of encounters with a Bosnian Serb soldier Stojan Sokolović, this book is a meditation on the possibilities and limitations of responding to the extreme violence of the Bosnian war. It explores the ethics of confronting the war criminal and investigates the possibility of responsibility not just to victims of war and war crimes, but also to the perpetrators of violence. The book explains how Stojan Sokolović attenuated the author to the fact that he was responsible, to everyone, all the time, and for everything. It exposes the complexity of the categories of good and evil. Silence is also the herald of violence, or its co-conspirator. The author and Stojan Sokolović were trapped in violence, discursive and material, and discursive that leads to material, and material that emanates from and leads back to discursive. Two years after beginning his research into identity and the politics of conflict in Bosnia and Kosovo, the author got the opportunity to visit the region presented itself. According to the vast majority of the literature of the 1990s on Bosnia, it was clear that the biggest problem with nationalist violence and intolerance was to be found in Republika Srpska. The book is the author's discourse on a variety of experiences, including those of ethics, politics, disasters, technologies, fieldwork, adventure tourism, and dilemmas.

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Urban versus rural in City Slickers and Hunter’s Blood
David Bell

; Cater and Smith, 2003 ). The adventure tourism experience, Cloke and Perkins ( 1998 ) argue, evidences a new set of embodied tourist practices, supplementing (and maybe even superseding) the previously dominant tourist gaze: instead of contemplating nature, adventure tourists must experience it bodily. Moreover, as Cater and Smith ( 2003 : 213) say, the ‘consumption of the countryside in terms of

in Cinematic countrysides
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Elizabeth Dauphinée

to be visited are the basic currency of exchange that orients the researcher and often predetermines what or whom the researcher will investigate. The similarity between fieldwork and tourism is perhaps most significant in the case of ‘independent’ or ‘adventure’ tourists. It is worthwhile to remember that anthropology as a scholarly discipline emerged from adventure tourism. In Public Places, Private Journeys, Ellen Strain undertakes a genealogy of tourism and ethnography to demonstrate how modern travellers engage in elitist activities that are very similar to

in The ethics of researching war
Martin Phillips

. (ed .) ( 1997 ), The Cinematic City ( London : Routledge ). Cloke , P. and Perkins , H . ( 1998 ), ‘“Cracking the canyon”: representations of adventure tourism in New Zealand’ , Environment and Planning D 16 : 185–218 . Conrich , I . ( 2005 ), ‘Kiwi Gothic’ , in Schneider , S

in Cinematic countrysides
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Tim William Machan

expecting to meet their past, they mostly came for natural wonders and what we today would call adventure tourism. 59 No more than North America, the Pacific, or the Celtic fringe did Scandinavia offer a resolution to the problematic historical memories of emergent modernism. But the tropes used to represent it did sharpen debate on progress, even as they also enabled a historiographic narrative of Great Britain’s exceptionalism. If one of the fundamental attractions of a Scandinavian odyssey was that it offered a return, I am arguing, the return was in many ways a

in Northern memories and the English Middle Ages