In response to distant suffering, global civil society is being consumed by a generalized witnessing fever that converts public spaces into veritable machines for the production of testimonial discourses and evidence. However, bearing witness itself has tended to be treated as an exercise in truth-telling, a juridical outcome, a psychic phenomenon or a moral prescription. By contrast, this article conceives of bearing witness as a transnational mode of ethico-political labour, an arduous working-through produced out of the struggles of groups and (...) persons who engage in testimonial tasks in order to confront corresponding perils produced by instances of situational or structural violence; it is the work of witnessing, the normative and political substance generated through the performance of patterns of social action, which matters. Using Celan's allegory of the poem as a message in a bottle, I consider bearing witness as a web of cosmopolitan testimonial practices structured around five dialectically related tasks and perils: giving voice to mass suffering against silence ; interpretation against incomprehension ; the cultivation of empathy against indifference ; remembrance against forgetting ; and prevention against repetition. (shrink)

"Forgetting" plays an important role in the lives of individuals and communities. Although a few Holocaust scholars have begun to take forgetting more seriously in relation to the task of remembering—in popular parlance as well as in academic discourse on the Holocaust—forgetting is usually perceived as a negative force. In the decades following 1945, the terms remembering and forgetting have often been used antithetically, with the communities of victims insisting on the duty to remember and a society of perpetrators desiring (...) to forget. Thus, the discourse on Holocaust memory has become entrenched on this issue. This essay counters the swift rejection of forgetting and its labeling as a reprehensible act. It calls attention to two issues: first, it offers a critical argument for different forms of forgetting; second, it concludes with suggestions of how deliberate performative practices of forgetting might benefit communities affected by a genocidal past. Is it possible to conceive of forgetting not as the ugly twin of remembering but as its necessary companion? (shrink)

This article develops an analytical framework to study the role of narratives in markets and argues that there is a relationship between the structure and composition of narratives produced by market actors and market dynamics. With respect to theory, the article bridges the perspectives that study markets as cultures and as fields and draws from the organizational studies approach to the analysis of narratives. Two empirical cases of the crises narratives in the emerging contemporary art markets of Russia and India (...) illustrate the use of the framework. The analysis is based on in-depth interviews with artists and art dealers as well as observations in Moscow, Saint Petersburg, New Delhi, and Mumbai conducted between April 2012 and June 2013. The article shows that there is a widely shared crisis narrative with a coherent structure in the Indian art market. In contrast, fragmented and contested stories that lack narrative structure dominate in the Russian art market. The analysis of the first case highlights the narrative structure and shows the productive work it does in the Indian market—it provides a moral justification of existing market norms and produces a perspective for the future. The analysis of the second case focuses on the context of narrative production and connects the conflicting interpretations of the crisis in the Russian art market to contested hierarchies and persistent uncertainty. (shrink)

Since 1989, social change in Europe has moved between two stories. The first being a politics of memory emphasizing the specificity of culture in national narratives, and the other extolling the virtues of the Enlightenment heritage of reason and humanity. While the Holocaust forms a central part of West European collective memory, national victimhood of former Communist countries tends to occlude the centrality of the Holocaust. Highlighting examples from the Estonian experience, this article asks whether attempts to find one single (...) European memory of trauma ignore the complexity of history and are thus potentially disrespectful to those who suffered under both Communism and National Socialism. Pluralism in the sense of Hannah Arendt and Isaiah Berlin is presented as a way in which to move beyond the settling of scores in the past and towards a respectful recognition and acknowledgement of historical difference. (shrink)

In light of the great interest in interdisciplinary trauma research, this article explores the philosophical-literary concept of cultural trauma from the perspective of psychiatric and psychoanalytical studies of the long-term consequences of the Holocaust. The extensive literature on the psychological after-effects of the Final Solution offers an exceptional opportunity to study the aftermath of extreme violence from different subject positions, including the perspectives of survivors, perpetrators, bystanders, and their descendants. Moving from the epicenter of the historical event of the Holocaust (...) to its psychological periphery, the survey reveals how much the concept of trauma has changed in the course of five decades as a result of political and cultural developments. But the review of the literature also demonstrates that none of the existing concepts of Holocaust trauma is well suited to explain the effects of Holocaust representations on individuals or collectives who encounter the Final Solution only as a media event for educational or entertainment purposes. (shrink)

After decades of acrimonious debate on the nature of scientific knowledge, researchers in the human or social sciences are reaching a state of relative equanimity, a condition that may be characterized as a reflective pragmatism. Yet, even while the context has favored the development of new forms of research, the longstanding ocular metaphor of inquiry remains pervasive. That is, researchers continue the practice of observing what is the case, with the intent to illuminate, understand, report on, or furnish insight into (...) given states of affairs. And, while selectively useful, such an orientation is not only limited in potential but subject to a receding span of application. As I will propose, when the logics of reflective pragmatism are fully extended, we enter a new territory of understanding, one in which the vision of research is radically altered. We replace the captivating gaze on the world as it is with value based explorations into what it could be. This conception of a future forming orientation to research opens the way to new aims, practices, and reflections. (shrink)

Narratives are everywhere. We tell narratives about ourselves and we make the world meaningful through storytelling. We position others through the narratives we tell and are positioned by stories told about us. And yet, while narratives have, of course, been analysed in critical discourse studies (CDS), including in one of its most popular approaches, the discourse-historical approach (DHA), this article proposes to go a step further by systematically integrating the concept of narrative into the core of the DHA. More specifically, (...) I consider narrative from the perspective of the concept of narrative genre. That is, I propose a focus on how meaning arises via the narrative genres of romance, tragedy, comedy and irony, i.e. through (modes of) emplotment. Such an integration does not contradict the DHA’s (and CDS’) focus on detailed textual analysis or reject existing foci, e.g. on argumentation, but recognises the centrality of the narrative form for social life and offers further concepts for empirical analyses. This focus on narrative genre contributes, furthermore, to the critical study of meaning-making by revising Jürgen Habermas’ Critical Theory and offering a novel integration of the latter into the DHA, thus providing a theoretically justified, immanent foundation for its critique. (shrink)

ABSTRACT Narratives are everywhere. We tell narratives about ourselves and we make the world meaningful through storytelling. We position others through the narratives we tell and are positioned by stories told about us. And yet, while narratives have, of course, been analysed in critical discourse studies (CDS), including in one of its most popular approaches, the discourse-historical approach (DHA), this article proposes to go a step further by systematically integrating the concept of narrative into the core of the DHA. More (...) specifically, I consider narrative from the perspective of the concept of narrative genre. That is, I propose a focus on how meaning arises via the narrative genres of romance, tragedy, comedy and irony, i.e. through (modes of) emplotment. Such an integration does not contradict the DHA’s (and CDS’) focus on detailed textual analysis or reject existing foci, e.g. on argumentation, but recognises the centrality of the narrative form for social life and offers further concepts for empirical analyses. This focus on narrative genre contributes, furthermore, to the critical study of meaning-making by revising Jürgen Habermas’ Critical Theory and offering a novel integration of the latter into the DHA, thus providing a theoretically justified, immanent foundation for its critique. (shrink)

A fruitful direction for research on the European cultural heritage is to adopt a transnational approach. Rather than see cultural heritage as predominantly expressed in national contexts, it could be seen as primarily transnational and as plural. Such a view would also suggest a conception of national histories as themselves products of transnational encounters. In this perspective, the European dimension is not then necessarily something over and above nations, but part of their heritage. Moreover, as fundamentally transnational, the European heritage (...) is not exclusively confined to Europe. Cultural heritage is not something that is fixed or based on an essence; it is produced and reinterpreted by social actors in different but overlapping contexts. This is also an interpretative approach that draws attention to the entangled nature of memories and especially the cultural logic by which new conceptions and narratives of heritage emerge from the encounter and entanglement of different memories. Such an approach offers new opportunities for comparative research on the European heritage as an entangled mosaic of histories and memories. This approach thus rejects not only particularistic but also universalistic ones such as alternative Eurocentric accounts. (shrink)