Antonio Fogazzaro‘s Malombra combines features of the Gothic novel with an interest in the environment, natural and artificial. The story of a woman who lives in a Palazzo and believes she is the reincarnation of her late ancestor unfolds a narrative constantly engaged with the issues of place and space. Human and nonhuman features play a significant role in the narrative within whose complex and intricate setting the characters interact. By focusing on the main character‘s engagement with the surrounding world the article aims at shedding a new light on the long discussed issues of double identity, showing how the novel portrays instead a symbiotic relationship with the environment.
This article addresses two questions about artworks. First, why do we emotionally
respond to characters and stories that we believe are fictional? Second, why are some
media better than others at generating specific types of emotions? I answer these
questions using psychological research that suggests our minds are not unified, but
are comprised of numerous subsystems that respond differently to various aspects of
artworks. I then propose a framework to help us understand how films, videogames, and
literature interact with our minds in different ways, which explains why they tend to
excel at generating different types of emotions.
Film viewers responses to characters are of a great variety; global notions of
‘identification’, ‘empathy’, or ‘parasocial interaction’ are too reductive to capture
their rich nuances. This paper contributes to current theoretical accounts by
clarifying the intuitive notion of ‘being close’ to characters, drawing on social and
cognitive psychology. Several kinds of closeness are distinguished: spatiotemporal
proximity, understanding and perspective-taking, familiarity and similarity, PSI, and
affective closeness. These ways of being close to characters interact in
probabilistic ways, forming a system. Understanding its patterns might help us to
more precisely analyze the varieties of character engagement, which is demonstrated
by an analysis of David Fincher‘s Fight Club (1999).
The display of human remains is a controversial issue in many contemporary societies, with many museums globally removing them from display. However, their place in genocide memorials is also contested. Objections towards the display of remains are based strongly in the social sciences and humanities, predicated on assumptions made regarding the relationship between respect, identification and personhood. As remains are displayed scientifically and anonymously, it is often argued that the personhood of the remains is denied, thereby rendering the person ‘within’ the remains invisible. In this article I argue that the link between identification and personhood is, in some contexts, tenuous at best. Further, in the context of Cambodia, I suggest that such analyses ignore the ways that local communities and Cambodians choose to interact with human remains in their memorials. In such contexts, the display of the remains is central to restoring their personhood and dignity.
A Thematic Analysis of Collective Trauma and Enemy Image Construction in the 1980s American Action Film
During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.
“redesigned” design process’ ( Negroponte, 2003 : 359). Defining Negroponte’s approach to programming was a
constructivist conception of learning by doing – the analogy being how a child is said to
learn. Not so much through formal teaching ‘but by interacting with the world, by having
certain results as a consequence of being able to ask for something, or being able to stand up
and reach it’ ( Negroponte, 2006 : 1-53)
– that is, through endless feedback loops of iterative environmental interaction
involving an automatic and continuous process of
A Model for Historical Reflection in the Humanitarian Sector
Kevin O’Sullivan and Réiseal Ní Chéilleachair
, the interactive element of revisiting the
past and of sharing experiences, and the need to apply the knowledge that
That begs the question: how do we translate ‘relevance’ into
sustainable policies? As a start, we suggest that contributors to the final
roundtable should play a clear role in summarising the discussions and pointing
the way to lessons learnt. But our experience leads us to caution against
South African Truth and Reconciliation Commission the question arises: what kinds of truth surfaced in the actual gacaca assemblage in small face-to-face communities? And what kind of truth dominated? And how did these truths interact?
I will answer these questions based on fieldwork conducted in Rwanda between 2005 and 2012 – when the gacaca courts were operational nationwide – when I, together with Rwandan collaborators, observed a total of 1,917 trials dealing with allegations against 2,573 individuals. In doing so, I conceptualise the gacaca process as
Matthew Hunt, Sharon O’Brien, Patrick Cadwell, and Dónal P. O’Mathúna
The 2010 Haiti earthquake has been described as a ‘game changer’ for
the implementation of technologies in humanitarian response ( Sandvik, 2014 : 26). Established and emergent information
and communication technology (ICT) applications were employed in the
earthquake’s aftermath and ‘relief efforts quickly became a living
laboratory for new applications of SMS texting, interactive online maps and
radio-cell phone hybrids’ ( Nelson
RPF agents. As the war spread and RPF fighting drove displaced people across the country, government claims that participating in violence was necessary for defensive reasons made sense. More importantly, though, the fact that the violence was being ordered by the state and that people who resisted could be fined, beaten or even killed, filled people with another kind of fear that interacted with and built on the first and drove participation ( Straus, 2008 ). In another piece, Straus further challenges the role of ideology by demonstrating convincingly that the