Trauma as counter-revolutionary colonisation: narratives from (post)revolutionary Egypt

We argue that multiple levels of trauma were present in Egypt before, during and after the 2011 revolution. Individual, social and political trauma constitute a triangle of traumatisation which was strategically employed by the Egyptian counter-revolutionary forces – primarily the army and the leadership of the Muslim Brotherhood – to maintain their political and economic power over and above the social, economic and political interests of others. Through the destruction of physical bodies, the fragmentation and polarisation of social relations and the violent closure of the newly emerged political public sphere, these actors actively repressed the potential for creative and revolutionary transformation. To better understand this multi-layered notion of trauma, we turn to Habermas’ ‘colonisation of the lifeworld’ thesis which offers a critical lens through which to examine the wider political and economic structures and context in which trauma occurred as well as its effects on the personal, social and political realms. In doing so, we develop a novel conception of trauma that acknowledges individual, social and political dimensions. We apply this conceptual framing to empirical narratives of trauma in Egypt’s pre- and post-revolutionary phases, thus both developing a non-Western application of Habermas’ framework and revealing ethnographic accounts of the revolution by activists in Cairo

The Art of Being Elsewhere:Neoliberal Institutions of Care

The being of human beings and, in particular, their wellbeing is profoundly spatial and temporal. We feel well in dramaturgically stimulating, sheltered, yet expansive spaces that lend themselves to daydreaming, much like we feel well in “thick” time that, like a complex melody, textures our existence aurally, kinesthetically, and propriocentrically (influencing our body’s sense of balance). This existential relation is created through movement, sound, language, chronotypes, physical and symbolic objects, all of which weave bio-social matrixes, micro-cultural landscapes, even individual inscapes – internalized terrains of symbolic meaning. This essay offers a socio-phenomenological account of a medium-security forensic service unit River House, part of the Bethlem Royal hospital, a psychiatric hospital located in Bromley, south London. Its aim is to articulate the interdependence of practice, space, and inscape, while simultaneously shedding light on a very particular, emergent form of existential vulnerability caused by the increasing precarization, the reponsibilization of the individual, and the culture of blame

Dark Tourism in the Midwest

Dark tourism, or the study of the act of travel to sites associated with death, suffering, and the seemingly macabre, is becoming increasingly popular. The administrative staff who run these sites carry the responsibility of bridging the gap between tourist and community. Administrative perspectives on a business level as well as a personal level reflect a deeper understanding of dark tourism in the Midwest. Six case studies were conducted via interview: Saloon No. 10; the Villisca Axe Murder House; Oakland Cemetery; the Glensheen Mansion; Ohio State Reformatory; and Molly Stark Park. The administrative structures of these sites and their correlation with the paranormal influence the success of these sites as they fit into dark tourism

Borders and 'Ghosts': Migratory Hauntings in Contemporary Visual Cultures

This work examines the issues of displacement and migration through the notion of the ‘ghost’ and in the context of hauntology, as proposed by Jacques Derrida. Focussing on the complexities of haunting and the very particular condition of ghostliness, the arguments throughout the text are centred on the production of subjectivities on/through borders/boundaries, with reference to both contemporary practices in art and materials circulated in contemporary visual cultures. In its broadest sense, the study addresses fundamental questions such as: what gives the movement its start and how is it possible to address the complexities embedded in migratory movements? By taking up theoretical models, bodies of artistic practice, ethnographic case studies of specific locations in Turkey and the broader geographical region, the study produces an in-depth cross section of migratory effects and perceptions. The main argument of the study is that immigration is not a problem in itself; it is rather produced as a `problem'. This concern is played out through the theme of haunting. The conditions of haunting emerge when the illusion of coherence, stability, homogeneity and permanence is confronted with the shadowy realities of displacement, dislocation and unbelonging, with all the layers of diasporic formations and migratory flows, with the crossover and overlap of cultures, and with hybrid identities and new ethnicities that are constantly being formed. Rather than simply focussing on mapping the trajectories and consequences of human movement, the study is an inquiry into strategies for uncovering hidden structures embedded in the realities of displacement and migration. In this instance, the notion of the `ghost' emerges as a strategic tool in an attempt to connect the past to the present, the living to the non-living, presence to absence, the visible to the invisible, the near to the far, the abstraction to the materialization

From Flag-Waving to Pragmatism: Images of Patriotism, Heroes and War in Canadian World War II Propaganda Posters

During the Second World War, the Canadian government initiated an extensive propaganda campaign designed to bolster morale and con-vince Canadians of their responsibility to con-tribute their time, energy and money to the war effort. Posters quickly became an essential ele-ment in this program, taking the government's message in full colour "from sea to sea. "As cultural artifacts, these posters provide a unique entry point into Canadian society during this era, illustrating how attitudes towards patriotism, heroism and even the war itself shifted substantially between 1939 and 1945. Although the aim of these propaganda posters was to mobilize support for the war effort, the changing nature of their appeals provides graphic evidence that the country experienced three general but ill-defined stages as the war progressed, moving from an initial idealistic flag-waving to a realistic but weary determination to defeat the enemy, and finally, to an idealized vision of peace that promised new heights of consumption and satisfaction. Résumé Au cours de la Seconde Guerre mondiale, le gouvernement canadien a entrepris une intense campagne de propagande pour remonter le moral des Canadiens et les convaincre de leur obligation de consacrer temps, énergie et argent à l'effort de guerre. Les affiches sont vite devenues un élément essentiel du programme, proclamant « d'un océan à l'autre » les messages en couleurs du gouvernement. En tant qu'objets culturels, ces affiches offrent une fenêtre unique sur la société canadienne de cette époque et montrent comment les attitudes envers le patriotisme, l'héroïsme et la guerre elle-même ont changé considérablement entre 1939 et 1945. Bien que ces affiches de propagande aient eu pour objet de rallier des appuis pour l'effort de guerre, la nature changeante de leurs messages montre clairement que le pays a traversé trois grandes étapes, assez mal définies, au fur et à mesure que la guerre évoluait, passant de l'étape initiale du patriotisme idéaliste à celle du réalisme et de la détermination à vaincre l'ennemi malgré la lassitude générale et, finalement, à celle d'une vision idéalisée de la paix qui promettait de nouveaux sommets de consommation et de satisfaction

The Vehicle, Spring 1997

Vol. 38, No. 2 Table of Contents Poetry: Don QuixotePatrick Scanlanpage 1 Last SupperChristine Starrpage 1 Marriage VowsKristopher Clausingpage 2 The LibraryPatrick Lairpage 4 GuruJohn Dylan McNeilpage 5 Tripping in OzKim Evanspage 5 TranceStephanie Kavanaughpage 6 The CleftEmilie Roypage 7 FlannelAmanda Watsonpage 8 Strip PokerEbben Moorepage 8 IceJohn Dylan McNeilpage 9 ChloeMichael Kawapage 11 OrchardCarmella Cosenzapage 12 Jenn & Cookie MonsterJacob Tolbertpage 13 Barry ManilowKatie Wrightpage 14 GoodbyesShannon Goodallpage 15 Prose: Alice (A Short, Short Story)Carmella Cosenzapage 17 UntitledJoe Robesonpage 17 A New World AloneKendall W. Baumanpage 22 Biographiespage 35https://thekeep.eiu.edu/vehicle/1069/thumbnail.jp

Direction of the play \u27ART\u27

The following documentation includes the conceptualization, research, implementation, and reflection of the entire production process of ‘ART’ in May 2021. The documentation includes character and visual production research, historical context and significance, as well as the evaluation of the play as a vehicle for production in the community of Etna, California

Human Monsters: Examining the Relationship Between the Posthuman Gothic and Gender in American Gothic Fiction

According to Michael Sean Bolton, the posthuman Gothic involves a fear of internal monsters that won\u27t destroy humanity apocalyptically, but will instead redefine what it means to be human overall. These internal monsters reflect societal anxieties about the other gaining power and overtaking the current groups in power. The posthuman Gothic shows psychological horrors and transformations. Traditionally this genre has been used to theorize postmodern media and literary work by focusing on cyborgs and transhumanist medical advancements. However, the internal and psychological nature of posthumanism is fascinating and can more clearly manifest in a different Gothic setting, 1800s American Gothic Fiction. This subgenre of the Gothic melds well with the posthuman Gothic because unlike the Victorian Gothic, its supernatural entities are not literal; they are often figurative and symbolic, appearing through hallucinations. In this historical context, one can examine the dynamic in which the human is determined by a rational humanism that bases its human model on Western, white masculinity. Therefore, the other is clearly gendered and racialized. Margrit Shildrick offers an interesting analysis of the way women fit into this construction of the other because of their uncanniness and Gothic monstrosity. Three works of American Gothic fiction--George Lippard\u27s The Quaker City, Edgar Allen Poe\u27s Ligeia, and Charlotte Perkins Gilman\u27s The Yellow Wallpaper portray these gendered power dynamics present within the posthuman Gothic when applied to the American Gothic; the female characters are either forced by patriarchy into becoming monstrous, or they were never fully human in the first place