2. THE VICTIM'S VOICE AND MELODRAMATIC AESTHETICS IN HISTORY1

Saul Friedländer's recent Nazi Germany and the Jews: The Years of Extermination offers a brilliant new literary mode for historical representation of extreme events such as the Holocaust. He has produced an authoritative historical narrative of the Holocaust, within which he integrates the victims' authentic voices, as recorded (mostly) in their contemporary writings. This article offers a comparative assessment of Friedländer's achievement with regard to the integration of Jewish sources into the historical account. It begins with a contextualization of Friedländer's book within a framework that compares the ways in which Jewish sources are addressed by different historiographical approaches. In the second part it seeks to contextualize analytically and critically Friedländer's concept of “disbelief”—a concept by which he defines the role of the “victims’ voices” in his narrative. I claim that in our current “era of the witness,” set within a culture addicted to the “excessive,” the voices of the victims and the witnesses appear to have lost their radical political and ethical force. They seem no longer to bear the excess of history, and can thus hardly claim to be the guardians of disbelief. Excess and disbelief have thus become the most commonplace cultural topos. In our current culture, I contend, the excessive voices of the victims have, to some extent, exchanged their epistemological, ontological, and ethical revolutionary function for an aesthetic one. They operate according to the pleasure principle in order to bring us, the consumers of Holocaust images, the most expected image of the “unimaginable,” which therefore generates a melancholic pleasure and involves the narrative in melodramatic aesthetics. The article concludes by briefly suggesting some guidelines for an alternative approach to the study of contemporary Jewish Holocaust sources.     

American Indian Lives and Voices: The Promise and Problematics of Life Narratives

This essay explores the promise and problematics of ethnographic life stories as products of complex collaboration, both old and new, between American Indians and anthropologists. Four books reviewed here represent a range of narrative forms, historical experiences, and social settings. I pay particular attention to issues of voice and subjectivity, as reflected in these Northern Arapaho, California Indian, and Oneida life narratives. I also argue that these life stories can and should be read as intersubjective, intertextual narrations of shared subject and researcher lives, as they are constituted, and live on, through the very act of collaborative engagement.     

‘Hidden from view’?: an analysis of the integration of women’s history and women’s voices into Australia’s social history exhibitions

ABSTRACT

‘Women have mostly been left out of history’, boldly asserted Elizabeth Willis in her exhibition text for The Story of Victoria in 1985. Taking Willis’ statement as a starting point, this article aims to trace firstly how women have been rewritten into Australia’s social history exhibitions focusing on the use of voice as a strategy to do so, and secondly how these voices have changed historical master narratives – by allowing a shift from a big picture history to intimate and deeply personal stories that recast our understanding of the past in ways that are inclusive of gendered experiences. We investigate the use of the curatorial voice as reflected in Willis’ work, aligning it with the notion of curatorial activism, before exploring the changing curatorial practices that expanded the potential for an interpretive approach that incorporated the voice of the subjects themselves as a central component in the telling of history. We then analyse the impact of these strategies on traditional understandings of the past through three exhibitions developed by Melbourne Museum over 30 years: The Story of Victoria, a successor exhibition The Melbourne Story, and their Great War centenary exhibition, WWI: Love & Sorrow.     

Searching for safe space: the absent presence of childhood sexual abuse in human geography

In 1993, Julia Cream published an article deconstructing the politics surrounding the ‘cluster’ of childhood sexual abuse (CSA) diagnoses in Cleveland, UK. In 2014, in a viewpoint article in this journal, Dowler, Cuomo, and Laliberte called for a change in higher education governance, after the widely publicised Penn State CSA scandal. Within this 20-year period, these were two of only a handful of articles to be published in geography, focusing on CSA. Upwards of one in eight people in the UK, North America, Australia and New Zealand are survivors of CSA. Other social science disciplines have established the impact CSA can have on mental health, relationships and life choices, all of which are lived out in space and place. CSA survivors are also over-represented amongst geographically marginalised groups. We argue that human geography's silence on CSA represents a significant oversight not only in terms of understandings people's relations to, use of and perceptions of space and place but also in terms of contributing to the silencing of survivors. We call for a recognition that this absent presence is associated with individual and social processes of dissociation and denial.     

Materiality and metaphor: Sound in circulation

Four recently published books examine sound in social contexts, including brass bands on the streets of New Orleans, Hawaiian steel guitar, the genre of Noise and its social circulation, and Aboriginal radio production in northern Australia. The authors present the material and metaphoric power of sound in social contexts through thoughtful and thorough historical research and long-term ethnographic study. The influential thinking of John Blacking, Steven Feld, and others is expanded and critiqued in new contexts. Three of the authors are editors or contributors to a recent publication on keywords related to sound in anthropology and ethnomusicology.     

This Is Not an Improvisation: Letitia Landon and the Slipperiness of Taxonomy

ABSTRACT

Writing in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe (1928–29) and to Michel Foucault’s 1973 essay on that painting, and using as a test case The Improvisatrice (1825), the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” captured and rendered in printed words by Landon (who ventriloquizes that speech), can neither “be” nor even “represent” a work produced (“performed”) in visual art or vocal song. In her long poem Landon effectively creates a literary trompe l’oeil, an illusion that depends for its “completion” upon the reader’s implied participation in that performative act of completion. In the process, Landon’s poem reveals the fundamental incompatibility of improvisational literary production with the performative nature of improvisation.     

以杭州西湖文化景观为例探索利益相关者遗产话语权

联合国教科文组织世界遗产项目在各国的世界遗产申报过程中重视国际专家话语权,而忽视当地居民和游客的话语.在杭州西湖文化景观申遗的过程中,由于中西文化的差异性,国际专家不能全面地理解国内专家在西湖申遗文本中陈述的价值.而游客与当地居民的话语不仅能够理解西湖所体现的中国传统文化价值,也会将其与个人的情感、经历和记忆联系,构建...     

Improving the transition to university: introducing student voices into the formal induction process for new geography undergraduates

Recently, there has been renewed interest in the area of school to university transitions within geography. This article focuses upon one aspect of these transitions, namely the induction programmes offered by universities to their new undergraduates. It argues in favour of extending the length of the induction period currently offered by many institutions and incorporating student voices into the induction process through peer mentoring. In making this argument, the article reports upon the new Extended Induction to Geography programme that Newcastle University piloted for the first time in 2011–2012.     

Voice: sonic geographies of childhood

This article uses the sonic geographies of childhood as an entry point into long-standing and important debates in the sub-discipline on ‘voice’. The article uniquely explores children’s voices from the past through considering a different type of research material – archival audio recordings. It argues that literally listening to past children’s voices (and noises, sounds and silences) can offer fresh insights into the concept of voice that tends to be associated with contemporary contexts. Drawing on archival encounters with ‘second hand’ field recordings of children across different schools and playgrounds in London in the 1960s, this article engages and extends wider theoretical debates about childhood, voice and memory. The article calls for more attention to the unique characteristics of sound and wider soundscapes of childhood. The article critically reflects on the possibilities and tensions associated with such work.     

Domestic Secrets: women and property in Sweden, 1600–1857

This article explores and analyses narratives in social report-books in the context of structural rationalization during the 1960s and 1970s in Sweden, which entailed large movements of people both in Sweden and Finland (as it did in other countries of Western Europe). The characteristics of the report-books are that they claim to depict the truth and to give voices to marginalized people with the aim to contribute to social change. The analysis dwells not only on the content of the books, but also on the narrative techniques employed. It is discussed how the authors were tied to their political context and the general discourse of social critique in their rendering of voices. The main questions of this article are: whose voices were paid attention to and how was home narrated and represented?

One kind of narrative content links home attachment to roots in a rural context, where home centres on reproduction of families, territorial claims and nature hugging. It is established through rhetoric of nature and timelessness, fathers passing inheritance on to their sons and a desire for a non-alienated existence in an archaic landscape. The narrative techniques used are based on an invisible narrator and on a travel narration with questions and answers. It is mainly male voices that are paid attention to. Female voices are to some extent heard but marginalized. Female bodily practices and habits are connected to positions as wives and daughters. The fisherman, the hunter, the woodlander and the farmer, are (re)presented as threatened male positions and therefore male bodies will in a near future be out of place. These narratives are framed by a patriarchal discourse where bodies are naturalized and made straight.

Quite another kind of narrative content is forward-looking, dealing with voices in a suburban context. The montage as a narrative technique is systematically used there, combining text and image. The didactic montage is intended to be educational, to enlighten people with the aid of pointers. This calls for activity on the part of the reader/observer, who is supposed to be given the impression of having interpreted the meanings independently. It is based on consciousness-raising as a feminist method for change. This narrative of home is about societal participation and resenting and resisting patriarchal distinctions such as public/private. It is framed by a feminist discourse where bodies are denaturalized and orientated at finding space for the displaced body to expand.