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Timothy Longman

’s memoir Shake Hands with the Devil , gives a searing account of the genocide from the perspective of the commander of the UN contingent ( Dallaire, 2003 ). A range of other non-scholarly texts, both memoirs and collections of testimonies, flesh out the human experience of the genocide. Rather than giving a comprehensive account of everything published on the genocide since 1999, I want to turn to three specific issues where research has challenged – sometimes in subtle ways – Des Forges’ conclusions in Leave None to Tell . Questions of Planning As in his

Journal of Humanitarian Affairs
Visual Advocacy in the Early Decades of Humanitarian Cinema
Valérie Gorin

of the twentieth century, all participated in forming injunctions to care about and react to the injustice exposed. Drawing from recent scholarship building on emotions and humanitarianism, this paper thus considers early humanitarian films as a form of ‘mediated humanitarian affect’; by the 1920s, this media technology offered a new ‘scale of mediated communication, sensorial range of human experience, and capaciousness of moral attention’ ( Ross, 2020 : 169). The movies not only proposed ‘inducements to affective expression’ (175) but were the key component of

Journal of Humanitarian Affairs

Across the early decades of the seventeenth century, Englishmen and women moved through a physical, social, and mental world organised into a carefully maintained balance of motion and pause. This book examines how seventeenth-century English architectural theorists and designers rethought the domestic built environment in terms of mobility, as motion became a dominant mode of articulating the world across discourses. These discourses encompassed philosophy, political theory, poetry, and geography. From mid-century, the house and estate that had evoked staccato rhythms became triggers for mental and physical motion-evoking travel beyond England's shores, displaying vistas, and showcasing changeable wall surfaces. The book sets in its cultural context a strand of historical analysis stretching back to the nineteenth century Heinrich Wolfflin. It brings together the art, architectural, and cultural historical strands of analysis by examining why seventeenth-century viewers expected to be put in motion and what the effects were of that motion. Vistas, potentially mobile wall surface, and changeable garden provided precisely the essential distraction that rearticulated social divisions and assured the ideal harmony. Alternately feared and praised early in the century for its unsettling unpredictability, motion became the most certain way of comprehending social interactions, language, time, and the buildings that filtered human experience. At the heart of this book is the malleable sensory viewer, tacitly assumed in early modern architectural theory and history whose inescapable responsiveness to surrounding stimuli guaranteed a dependable world from the seventeenth century.

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Mark Brown

.’ (Auster, 1988: 46–7) This chapter will examine how in two novels in particular, Auster represents spaces which, like the unimaginable ‘Timbuktu’ or Eden, cannot be found on the map. The places represented in The Music of Chance and In the Country of Last Things are born entirely of imagination, and contain unreal and unknowable forces. These places do however exhibit characteristics that have their origin in real locations. The ‘fictional’ places which result allow Auster to explore the extremes of human experience, and to show how ontological stability is constantly

in Paul Auster
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Storm and scripture
Gwilym Jones

a meteorological perspective. 2 In this chapter, I want to draw it into a wider discussion of the storm’s signification in the play. I will examine the ways in which Shakespeare’s storm is weighted towards human experience rather than heavenly judgement. The fact that Shakespeare stages the sea-storm as it happens suggests that this focus on the lived experience of the storm is an important concern

in Shakespeare’s storms
David MacDougall

with everyday events seem bound by narrower rules. Many details of the fine grain of human experience thus remain invisible to film, either because they are considered too ordinary to merit attention or because they 18 LookingMachine.indb 18 12/11/2018 12:53:56 L o o k i n g w i t h a c a m e ra are viewed with shame. For such an avowedly realist medium as film this is surprising, since it is one of the best technologies we have for recording just how we see the world. The loss is not simply a benign absence. It produces a lop-sided account of human experience

in The looking machine
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Chris Abel

and theory. It then moves to a more detailed look at the writings of Maurice Merleau-Ponty and Michael Polanyi1 on the body as the nucleus or fulcrum of human experience. Though neither author wrote directly about architecture or urban form, their work has significant implications for understanding the way people relate to their environment.2 Of the two, Merleau-Ponty is the better-known author and a philosopher in the same school of thought as Martin Heidegger, both of whom in turn acknowledge Edmund Husserl3 as the intellectual father of phenomenology. Together

in The extended self
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Laura Almagor
Haakon A. Ikonomou
, and
Gunvor Simonsen

to explore human experiences and agency in global processes, as well as the relationship between individuals being in the world and socio-historical change on the global scale. The approach can also help trace movements and connections across disparate spaces, offer a layered, archive-based, synchronic analysis of global phenomena typically explored diachronically and at an aggregate level and, finally, counter the materialist bias in global history writing by exploring the cultural construction of the self as inextricably

in Global biographies
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Tim William Machan

Germany may have offered galleries, monuments, and stunning natural vistas that could not be found in Britain, enthralling travellers and transforming their sentiments and ideas. But by the Anglo-Scandinavian heuristic, only Scandinavia could serve as a virtual trip through time. As such, the region was necessary, familiar, and even, at times, charming. Yet it was the past: what Britain had been and, in an increasingly evolutionary outlook on human experience, what Britain had moved far beyond. Almost like a folk museum, then, the Nordic region was a place where

in Northern memories and the English Middle Ages
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Chris Abel

chapter follows the new thinking and discoveries of leading researchers in the field, some of whom have been motivated by the belief that a full understanding of the self and consciousness will come about only from a broadening of the cognitive and neurosciences to encompass the phenomenology of human experience. From an exploration of current concepts of the self and embodied minds, the discussion then moves on to some of the more specific and important discoveries in the latter field, many of which lend empirical support to Merleau-Ponty and Polanyi’s speculations

in The extended self