Lena Finkle’s magic arc: hybrid influences in the Russian American graphic novel

ABSTRACT

The article examines Anya Ulinich’s graphic narrative Lena Finkle’s Magic Barrel and the novel’s use of visual culture from both the author’s Russian and US American backgrounds. The article interrogates the use of history and timelines, Russian art history and Russian art education in Ulinich’s text. It also analyzes other literary constructs that influenced Ulinich’s novel: US American comics/graphic novels and their use of stereotype, and novels by Russian-speaking Jewish American writers, with their thematized Jewishness.     

Going to pieces: narrative disintegration in Nuruddin Farah’s Crossbones

This paper examines Nuruddin Farah’s 2011 novel Crossbones. It argues that Farah subverts the techniques of crime fiction in order to emphasise the difficulty of describing Somalia in terms of a single narrative, and that the novel’s chaotic “unfinished” form represents a resistance to binary and Orientalist media discourses about the country. It demonstrates that the dissolution of structure, characterisation and the generic expectations of crime fiction in the novel represents a resistance to the idea of the outlaw state. The paper discusses the text’s use of rumours, the role and efficacy of the text’s “detective” figures in post-collapse Somalia, and the novel’s treatment of piracy. It argues that the novel’s detective figures represent national allegories within the text, and that their frustration and breakdown suggests the elusiveness and complexity of Somali identity in the postcolonial and post-collapse era.     

Visual accountability

In this article, we draw attention to the way in which accountability relations are manifested in and through the use of visual evidence. Through their status as representations of what is the case, evidentiary visual images frequently provide a basis for giving accounts and for raising questions regarding distributions of accountability. At the same time, and in a similar manner to numbers (Munro, 2001), such images become part of organized relations of accountability that can be noted as having ‘hailing’ effects: they call for and prefigure a certain kind of response and dispersing of responsibility. Here we examine how the use of visual evidence is embedded in discursive and material practices that variously create or inhibit possibilities for questioning, or interrogating, this evidence. Drawing on elements of ethnomethodology and actor‐network theory, we use ‘interrogation’ as the basis for depicting a three‐part analytical schema focused on opening up, closing down and temporality to explore how visual accountability is worked out in surveillance, traffic management and breast screening images.     

Two Poems on the Death of Akhmatova: Dialogues,Private Codes,and the Myth of Akhmatova’s Orphans

Abstract

In Serhiy Zhadan’s recent novel Voroshylovhrad (2010), memory and emptiness form a duality of being and non-being, as represented by remembering and forgetting. This framework is proposed here as a metaphor for understanding some of the challenges facing Ukraine today. Using the concept of post-socialist memory as an entry point, this article positions Voroshylovhrad at the productive intersection of memory and literature, offers interpretations for several crucial scenes of the narrative, and contends that the novel recalibrates common paradigms of separation from a traumatic past. Finally, an argument is put forth that the book’s textual voids cast the reader as a key agent of recollection. This analysis of literary mechanisms involved in the memoryemptiness dichotomy contributes to an on-going exploration of strategies contemporary Ukrainian writers employ to engage in cultural and historical discourses, as well as to the studies of memory and literature in the post-Soviet regions of the world.     

The privacy paradox: how market privacy facilitates government surveillance

Although most surveillance studies scholars assume privacy is antithetical to surveillance, critics have recently warned that privacy-based criticisms may facilitate surveillance. That being said, we do not yet have data that show whether privacy claims were used in the past to legitimate government surveillance. This paper addresses that gap by analyzing claims made over one of the U.S.’s most controversial surveillance issues: government control over encryption technologies. A review of Congressional hearings and statements on the Congressional Record (n?=?112) reveals that from 1993 to 1999, public debates were dominated by a market liberalization discourse in which participants supported loosening encryption controls as a way to protect privacy from criminal intrusions in market transactions. Also playing a role was a strong skepticism toward government power and a preference for markets as managers of crime prevention. Challenged by these critiques, lawmakers withdrew regulatory proposals and spent the following decade working quietly with private firms to ensure law enforcement surveillance capability. These findings show the expansion of privacy for consumers and entrepreneurs has in fact been used to achieve the contraction of privacy from law enforcement and intelligence agencies.     

Fathers,others: The sacrificial victim in Freud,Girard, and Levinas

Abstract

This paper derives from an interest in murder. This interest began through reading fictional narratives which ceaselessly stage and restage scenes of murder; but it has also become clear that a range of theoretical texts are no less preoccupied with the basic question, ‘Why kill?’ (see Davis, 2000). In particular, the three theorists I shall discuss here, Freud, Girard and Levinas, directly address the question of murder, its causes and consequences. In each case, the theoretical question turns out to depend upon a minimal core narrative in which the stakes of murder are crystallized; rival theoretical accounts are thus also bound up in a competition of stories. As this paper traces a common concern from Freud's Totem and Taboo, through Girard's La Violence et le sacré, to Levinas's Totalité et infini, the question ‘Why kill?’ gets entangled with the dynamics of storytelling and the issue of what it means to do theory.     

A visual narrative analysis of children’s baby loss remembrance drawings

Children experiencing the death of baby brother or sister have reported individual, familial, and communicative challenges. Siblings also have indicated that the loss of a baby in their family enriched their lives despite their pain. The present study extends this work by focusing not only on siblings but also other children enmeshed in the family system. Additionally, we heed the call for the use of arts-based methods in family communication by performing a visual narrative analysis of children’s baby loss remembrance drawings. This analysis of 131 drawings completed by children ages zero to 18 yielded three main themes, including narration of identity, narration of life and death, and narration of growing sense-making. Two continua capture these themes, including the subject of narrativization and the mode of narrativization. In presenting these findings, we provide a unique (means of) understanding children’s experience of baby loss in the family.     

Ojibwe lesbian visual AIDS: On the Red Road with Carole laFavor,Her Giveaway (1988), and Native LGBTQ2 film history

ABSTRACT

After a century of suppression across the Silent, Classic, and New Hollywood eras, Native Lesbian/Gay media began to proliferate in the post-AIDS 1980s and into the second millennium. Her Giveaway: A Spiritual Journey with AIDS (1988) is a key tribal health AIDS video that exemplified a new contemporary media combination of visual, erotic, and theological sovereignty. The video's central Red Road narrative by the lesbian, Ojibwe, and AIDS/HIV+ spokesperson Carole laFavor emphasizes Native American traditional healing methods involving the medicine wheel and a reclamation of Native lesbian/gay identity.     

Sniffing the city: issues of sousveillance in inner city London

This article reflects on a series of workshops run by the art/media/hacktivist collective Deptford.TV in collaboration with the Centre for Urban and Community Research (CUCR), Goldsmiths, University of London in 2009–2010 and in 2012. The aim of the workshops was to create short films using hacked CCTV material. Participants, equipped with digital video signal receivers, were led through the city by incoming surveillance camera signals. Receivers cached surveillance camera signals making a range of city spaces visible. The material was then stored on a shared video platform and reshuffled in personal narratives and montages of the city. Hackers and media artists call it ‘sousveillance’ and frame it as a critique of the ‘panopticon society’. I argue that this practice reveals an unusually realistic portrait of inner city London and its working-class population at their everyday work. My contention is that the absence of such activities in narratives of gentrification and the presumed end of manual work make this portrait particularly valuable. The article evaluates this emerging and ethically controversial practice of video recording, asking to what extent it can become a useful tool for urban scholars, visual sociologists and media artists. In conclusion, I argue that the exercise provides moments of self-discovery for the urban stroller, who – while practicing a sort of heroic immersion in inner city London – paradoxically becomes a watcher of scenes from life fabricated at a ‘safe’ distance; a middle way between urban ethnographer and flâneur.     

Narratives of Crime and Criminals: How Places Socially Construct the Crime Problem1

A common narrative about crime in the contemporary United States is that offenders are primarily young black men living in poor urban neighborhoods committing violent and drug‐related crimes. There is also a local context to community, crime, and fear that influences this narrative. In this article, I address how narratives of crime and criminals play out differently within particular places. The article is based on participant observation and interviews conducted in two high‐crime Boston‐area communities. Although both communities are concerned with stereotypical offenders, there are differential community constructions of crime, formed through interactions between crime narratives and place identities. In one, crime is a community problem, in which both offenders and victims are community members. In the other, outsiders commit crime against community members. Media portrayals of crime and community, community race and class identities, and concerns over neighborhood change all contribute to place‐specific framing of “the crime problem.” These frames, in turn, shape both intergroup dynamics and support for criminal justice policy.     

Reading the rubbish dump as a heterotopia in Neill Blomkamp’s district 9

ABSTRACT

I read the rubbish dumps of Neill Blomkamp’s 2009 film District 9 in order to think about how peripheral places and communities can reframe the South African city. In the film, dumps are sites of abandonment and transformation. This doubleness exemplifies Michel Foucault’s privileged site, the heterotopia. I focus on two scenes that take up little of the film’s running time but speak to the possibilities of the dump as more than simply a space of immiseration. The scenes unsettle orthodoxies of space that define the postapartheid city and reposition the heterotopic dump at the urban centre rather than the margins.     

The Aggregation of Political Rhetoric in Zeitoun

While the initial literary and cultural response to 9/11 consisted mostly of domestic narratives of trauma and mourning that avoided explicit political discourse, narrative representations of Hurricane Katrina, from the beginning, have been highly political. This is a profound, if simplistic, inversion: an act of political violence is de-politicized by its cultural response, while a natural disaster is overtly politicized. While the politicization of Hurricane Katrina is clearly, in part, down to the many accusations of negligence and racism that were immediately leveled at the American government after the post-Katrina flooding of New Orleans, this article argues that a major politicizing factor is and was the de-politicization of 9/11. Many narratives of Hurricane Katrina, therefore, are loaded with an aggregation of dissent and political discourse that relates not just to Katrina but also to 9/11 and the War on Terror. This article focuses specifically on Dave Eggers’s narrative non-fiction account of Katrina, Zeitoun (2009) and the way it responds to the domestication of 9/11 in these early instances of 9/11 fiction, and, in particular Cormac McCarthy’s The Road (2006). It argues that Zeitoun responds to The Road’s conservative, messianic allegory, its retrograde formulation of frontier masculinity and unlikely recourse to the domestic. Eggers’s narrative non-fiction account of Katrina is also a migrant story and it is able to both dramatize the social realities of the War on Terror and build a surprising and affecting narrative of community and pluralism in the wake of disaster. Ultimately, this comparative analysis illuminates a wider and revealing departure from the cultural representation of 9/11 in the cultural response to Hurricane Katrina where texts like Zeitoun, are overtly political and loaded with the weight of two catastrophes.     

Crime,citizenship and community: neoliberal communitarian images of governmentality

This article discusses the emergence, in the field of crime and safety, of a formula of government that can be called neoliberal communitarianism. This is a paradoxical governmental strategy that combines a focus on ‘individual responsibility’, ‘community’ and a ‘selectively tough state’. The discussion is based on the Foucaultian triangle of strategy, political programmes and techniques. The substance of this application consists of a discussion of recent Dutch political programmes and techniques in crime and safety policies. The discussion includes the local case of Rotterdam, a city at times regarded as a ‘policy laboratory’. Specifically, the role that notions of citizenship and community play in crime and safety policies is analysed. We hereby point at two different manifestations of responsibilization – repressive responsibilization and facilitative responsibilization – aimed at two governmentally differentiated populations. In addition, we describe how neoliberal communitarianism entails the selective exclusion of subjects imagined as ‘high risk’. Because the government of crime tells us much about the government of ‘society’, neoliberal communitarianism is a useful concept to grasp contemporary changes in government in the Netherlands and in other European countries.     

Falling into the existential abyss: Ivan Franko’s realist prose in experiments with Gothic and crime fiction modes

This article examines three novels by Ukrainian realist Ivan Franko (1856–1916): Dlia domashn'oho ohnyshcha (For the Home Hearth, 1892), Osnovy suspil'nosti (Pillars of Society, 1894), and Perekhresni stezhky (Fateful Crossroads, 1900). Previous scholars saw elements of crime fiction in these works, but the actual relationship between the two genres of crime fiction and realism has not been fully developed. By studying the conventions of crime fiction, along with its antecedent, the Gothic, and their influence on Franko, the author shows the make-up of the early Ukrainian crime fiction genre and points to its importance in understanding Franko’s vacillation between realist and modernist tendencies. As she argues, the scales of his vacillation are tipped toward modernism in its decadent form, an existential void that characterized fin de siècle Europe. Hence, Franko’s “ideal” or programmatic realism (defined by Franko as a literary style with a didactic tendency aimed at educating society), which he introduced under the appealing cover of crime and Gothic motifs, ultimately failed him. The author proposes that it is the creative modes (Gothic and crime fiction) that Franko chose for voicing his ideas about social reforms that led him, unsuspectingly, away from his programmatic goal and toward the decadent aspects of modernism.     

Rapport: Little effect on children’s,adolescents’, and adults’ statement quantity,accuracy, and suggestibility

Abstract

Rapport building is widely recommended in eyewitness interview situations and is a critical component in some interview protocols. However, empirical evidence on the effectiveness of rapport building on memory performance is scant. The current experiment examined the effects of different levels of rapport (none, minimal, extensive) on children’s, adolescents’, and adults’ memory (N?=?229). Participants viewed a video of a mock theft and received one of three possible rapport manipulations. They then provided a free narrative of what they had seen, followed by 18 cued (suggestive and nonsuggestive) questions. In general, we found limited evidence of positive effects of rapport building on statement quantity and accuracy across age groups. Adolescents did profit more from extensive rapport building compared to no rapport. In line with the idea of a linear development of memory measures with age, adolescents generally fell in-between the other two age groups across different memory measures. The current study encourages systematic experimental research on the effect of rapport building on eyewitness memory.     

Fragile scenes,fractured communities: Tunisian Metal and sceneness

The paper proposes a reshaping of musical and cultural scene as a framework for the study of youth cultures. Developed in the ambit of post-subcultural theories, scene well represents the forces and flaws of such a category: high dynamism and ethnographic richness on one side; vagueness on the other. In order to reduce such vagueness, I conceptualise sceneness, intended as the substance of scenes, their density in networking and infrastructures. I use Arjun Appadurai’s concepts of locality and neighbourhoods to signify, respectively, sceneness and the actual scenes: in this way I redefine scene as a fragile construct that needs to be ritually revived, and that can work as a context for the development of new meanings and social groups. This implies conflict as a central element of scenes, one which can lead them to disequilibrium and disappearance. Such a redefinition is helpful for analysing fragile scenes which struggle to exist in troubled contexts, such as poor and hostile social environments. I provide, as an example, my ethnographic research on Metal in Tunisia. Caught between idealised images of community and an actual community which was conflictual and ‘fractured’, the Tunisian Metal scene lives a precarious existence threatened by material constraints and cultural marginality.     

More visualising, more methodologies: on video, reflexivity and qualitative research

This article was conceived as a response to Ruth Holliday's article published in The Sociological Review in 2001 (48 (4): 503–22) ‘We've been framed: visualising methodology’. Whilst recognising that Holliday's work makes both an important contribution to her substantive area and describes an innovative use of video in qualitative research, her critique of visual anthropology as a discipline that uses reflexivity as a muse to hide its positivist truth quest has some serious problems that need to be redressed. Here I shall draw from existing work to discuss how reflexivity has been a key theme in the development of visual anthropology since the latter part of the twentieth century.     

The Indian Ocean travels of Sheikh Yusuf and Imam Ali Ali: literary representations in Ishtiyaq Shukri’s The Silent Minaret and Achmat Dangor’s Bitter Fruit

This article investigates the narrative function of prominent Muslim travellers (both historical and fictional) across the Indian Ocean to South Africa in the seventeenth and nineteenth century respectively. Ishtiyaq Shukri, author of The Silent Minaret, juxtaposes the figure of Sheikh Yusuf with the protagonist Issa Shamsuddin of the narrative present to critique contemporary politics, both in post-apartheid South Africa and in the global North and its ‘war on terror’. Similarly, Achmat Dangor’s novel Bitter Fruit sheds light on the difficult choices faced by the main protagonist, Michael Ali, by drawing on the migration narrative of the Sufi Imam Ali Ali from India to South Africa in the 1890s. Both authors highlight the continuous history of imperial pursuits in the Indian Ocean world and their devastating effects in the past and the narrative present.     

Criminology 9/11

ABSTRACT

9/11 is a historically significant event that was hastily designated by authorities as an act of both terrorism and war. It led to a call for forensics investigations and commissions of inquiry, notably the 9/11 Commission, which reported famously on alleged lapses in intelligence, preparedness and bureaucratic imagination. Some high profile crime events may be understood as ‘apex crimes’, conceptualized here as a subtype of political crime in which the ideological order, official narrative, contested and problematic forensics and third party review are each constitutive features. In support of a sociology of 9/11 as a criminal event and apex crime, the paper considers how 9/11 has ‘played out’ or been understood in criminology. The implication of the analysis is that the absence of serious academic engagement with 9/11 as a crime event is indicative of a lack of critical scrutiny of high-level political crimes in scholarly discourse (in criminology and other disciplines) and that this gives a pass to one of the most significant crime events in the past 50 years.     

Limiting relationships through sousveillance video based digital advocacy: multi-modal analysis of The Nervous CPS Worker

ABSTRACT

Digital media technology and Internet-based/social media sharing are shifting the contexts and processes of social work, including the relationships emerging in practice. The Nervous CPS Worker, a digital video shared via YouTube, provides a concrete practice-based example of the use of social media self-advocacy by professional foster parents. This case-study demonstrates the fragmented and shifting power-relations brought to bear within contemporary social work. Multi-modal analysis facilitates the development of a layered qualitative understanding of this video, shaped by the researcher’s inter-textual relationship with the material. Supplemental online texts are applied to the Nervous CPS Worker and relevant scholarship, including discipline specific knowledge, reveals the layered and convergent meaning making processes present in this video through the use of auditory communication, visual representations and genre. Analysis demonstrates how contemporary social work contexts, such as neoliberalism, and standardisation are implicated in practice and how identity and context compete for recognition and space within the home visit depicted in this video.