Reenactment, Fantasy, and the Paranoia of History: Oliver Stone's Docudramas

In the late 1980s and 1990s, American popular culture has been increasingly rife with conspiracy narratives of recent historical events. Among cultural producers, filmmaker Oliver Stone has had a significant impact on popular understanding of American culture in the late twentieth century through a series of docudramas which reread American history through the lens of conspiracy theory and paranoia. This paper examines the films of Oliver Stone—in particular Platoon , Born on the Fourth of July , JFK , and Nixon —asking why they have achieved popularity and brought about catharsis, why they are the subject of attack, and why it is useful to look beyond the debate about truth and falsehood that has surrounded them. It analyzes the ways in which Stone's status as a Vietnam veteran allowed Platoon to be accorded the authenticity of survivor discourse, whereas JFK and Nixon were subject to almost hysterical attack, not only because of Stone's assertions of conspiracy, but also because of his cinematic style of tampering with famous images. Taking these films as its point of departure, this paper examines the role of images in the construction of history, the form of the docudrama, the reenactment of historical images, fantasies of history, and ways in which paranoia part of the practice of citizenship.     

A Brief Exploration of Neurological Art History

The invention of realistic portraiture to reveal "inner life" is attributed by some art historians to Jan van Eyck who worked in Flanders from 1420 onwards. We show, using clinical neurological examination of the gold mask of Agamemnon dating from 1550-1500 BC and of the portraits of Henry III and his son Edward I - important English royals - painted between 1216 and 1307, that realistic portraits were made well before the 15th Century. Thus artists unwittingly used neurology as part of their realistic approach to the presentation of the face. Because neurological diagnosis is often visual, neurology, in turn, has a rich potential to unveil examples of realism in art. We consider the art pieces examined here also pertinent to art historians, as they assess the role of art in documenting history.     

Assertions and aspirations: agency among accompanied asylum-seeking children in Sweden

Research on asylum-seeking children tends to disregard those in parental care. In particular, little is known about children’s own perspectives. Based on ethnographic fieldwork in Sweden, this article explores the ways in which accompanied children experience and seek to overcome challenges posed by asylum reception. The focus is on children’s ambition and ability to form their everyday life, given their ambiguous position of tentative emplacement. Theoretical inspiration is sought in Ortner’s ‘agency of personal projects’ and de Certeau’s concept of ‘tactics’, analysed through the prism of liminality. The study found that while some tactics aimed at avoiding situations and settings that made children uncomfortable, others involved influencing their situation through pursuing ‘personal projects’. Many children’s strivings were directed at creating ‘a normal life’ and a place for themselves in Swedish society. The findings challenge the idea that accompanied children are more protected from difficulties and responsibilities than those seeking asylum alone.     

“Gedankenaustausch über Probleme und Methoden der Forschung”. Transatlantische Gastprofessoren aus Emigrantenkreisen in Westdeutschland nach 1945

The history of the sciences and humanities follows cycles in some of which there is greater emphasis on the continuity of developments, in others on the breaks in continuity. In recent years the main focus of research for the 20^th century has been on the continuities extending beyond the boundaries of 1933 and 1945. The main aim of this study, however, is to examine the impulses for the internationalization of German universities provided by a transnational group of academic migrants. These migrants, whose origins were in the German academic community, represented an alternative continuity beyond the boundaries of this period: they were visiting academics who were the conveyors and interpreters of ideas from Germany into the USA and Britain and vice versa. The study of this group therefore combines remigration history and the history of universities as institutions, focussing on actors, networks and innovations in teaching, with the history of individual subjects and disciplines.     

A brief exploration of neurological art history

The invention of realistic portraiture to reveal "inner life" is attributed by some art historians to Jan van Eyck who worked in Flanders from 1420 onwards. We show, using clinical neurological examination of the gold mask of Agamemnon dating from 1550-1500 BC and of the portraits of Henry III and his son Edward I -- important English royals -- painted between 1216 and 1307, that realistic portraits were made well before the 15th Century. Thus artists unwittingly used neurology as part of their realistic approach to the presentation of the face. Because neurological diagnosis is often visual, neurology, in turn, has a rich potential to unveil examples of realism in art. We consider the art pieces examined here also pertinent to art historians, as they assess the role of art in documenting history.     

Creating a life: the role of symbolic and economic structures in the gender dynamics of Swedish artists

This article examines the prevalence of parenthood among professionally practising artists in Sweden. The overall aim of the article is to employ feministic and sociological perspectives to provide a theoretically-based understanding of the problems of balancing work and family life in the arts. Data are presented that reveals that female artists are more frequently childless compared to their male counterparts and women in the overall population. Male artists, however, are less frequently childless than men in general. The article develops a theoretical explanation focused on the effect of economic resource structures, which leave women artists to cope with lower incomes with which to pursue careers in the arts, and symbolic structures, which present creative work as difficult to combine with everyday domestic work. Given that motherhood continues to be associated with more comprehensive caring responsibilities than fatherhood, women are more frequently confronted with a choice between starting a family and pursuing their artistic calling.