Beneath the master narrative: human trafficking, myths of sexual slavery and ethnographic realities

This paper explores the disconnections between anti-trafficking discourse and the local experience of responding to human trafficking as indicated in ethnographic data from Bosnia and Kazakhstan. Using the concept of “uptake,” I examine how anti-trafficking discourse operates as a master narrative, drawing on techniques of emotion and logic, as well as a specific type of victim story. I also consider how, despite an emerging counter discourse that questions the data and challenges current policy, human trafficking discourse continues to be retold in media and reproduced in popular culture, often in ways that actually diverge from the current version of the grand narrative. In contrast to these uncritical representations, ethnographic data from Bosnia suggest that the master narrative is selective in how it represents the history of the problem and that it does not “take up” important details about the context that fosters sexual exploitation, despite Bosnia’s compliance with US policy. Conversely, Kazakhstan suffers a liminal status regardless of local efforts to prevent the problem from happening within its borders as well as evidence that the crime is not widespread. While perhaps not mythical, I suggest that the master narrative contains the stuff of legend as it occupies the critical spaces of policy, activism and development, leaving open the question of how to address the nuances and needs of responding to victims of gender violence.     

The spiritual strength story in end-of-life care: two case studies

In this article I analyze two brief case studies to propose that a "spiritual strength story" has five defining characteristics: (1) it is brief; (2) it is ontological; (3) it uses symbols and metaphors; (4) it is a "big story" or meta-narrative with a positive spiritual and/or religious focus that informs other narrative data; and (5) most conspicuously of all, it repeats. Cultivating awareness of the "spiritual strength" narrative type can help to improve the quality of inter-professional patient-centered care teamwork and understanding, especially in regard to the reflexive, embodied, and relational aspects of palliative and end-of-life care.     

'Yes:--no:--I have been sleeping--and now--now--I am dead': undeath, the body and medicine

In this paper I propose that, since the mid-eighteenth century medical science has simultaneously generated and disavowed 'undead' bodies, suspended between life and death. Through close analysis of three examples of 'undeath' taken from different moments in medical history, I consider what these bodies can tell us about medicine, its history, cultural meaning, scientific status and its role in shaping ideas of embodiment, identity and death. My first example is Edgar Allan Poe's story 'The facts in the case of M. Valdemar' which imagines the possibility of a man mesmerised at the point of death. I read this story as a response to the rise of professional, scientific medicine in the 1840s. I then look at the recurring issue of brain death in order to consider tensions within twentieth-century medical hegemony. Finally I read the Alder Hey scandal as a reactivation of undead anxiety in response to the emergent culture of medical consumerism at the end of the twentieth century.     

Epistemological reflections on the art of medicine and narrative medicine

This article challenges the widespread view that there is both a science and an art of medicine. Through examination of recent work in medical humanities --Jodi Halpern's From Detached Concern to Empathy (2001), Kathryn Montgomery's How Doctors Think (2006), and Rita Charon's Narrative Medicine (2006)--I argue that while a variety of epistemic techniques are important in medicine, it is not helpful to dichotomize them as "science" versus "art." I assess the epistemic strengths and weaknesses of narrative medicine, a recent exemplar of humanistic medicine.     

The meaning of the present: hope and foreclosure in narrations about people with severe brain damage

In this article, I consider narratives told within a clinical setting. I argue that personnel in a day center for people with acquired brain damage are constantly involved in narrating about the disabled participants. The negotiation of who the participant is, and foremost will be, is in constant negotiation in regard to issues of hope. I further argue that hope is a meaning-making process and, as such, it has been defined as crucially connected to time. Hope has been said to enable a connection between the present and the future, because action taken in the present could bring about (positive) change in the future. However, I show that hope, in relation to narratives told about people with severe disabilities that are considered "incurable," must be understood within a realm of narrative foreclosure. Time seems to have lost the openness of its horizon for these people, and a narrative that tells of immediacy rather than chronology is created, resulting in hope being established within the present.     

"Showing roughness in a beautiful way": talk about love, coercion, and rape in South African youth sexual culture

Sexual violence within as well as outside sexual relationships has far-reaching public health and human rights implications and is a continuing focus of popular debate, media coverage, and research in postapartheid South Africa. Partly because it has been shown to affect individual vulnerability to HIV/AIDS, sexual violence has in recent years become framed as a global public health issue. International research efforts to document the scale of this personally and politically sensitive problem can encounter conceptual, definitional, and methodological difficulties that anthropology is well placed to assist in alleviating. This article offers an ethnographic exploration of the spectrum of practices relating to sexual coercion and rape among young people in a township in the former Transkei region of South Africa. Contextualizing meanings of sexual coercion within local youth sexual culture, the article considers two emic categories associated with sex that is "forced": ukulala ngekani: "to sleep with by force" or ukunyanzela: "to force," both usually used to describe episodes occurring within sexual partnerships; and ukudlwengula, used to describe rape by a nonpartner or stranger. The article discusses the semantic content of and differences between these two key categories, demonstrating that encounters described as "forced sex" encompass not only various forms of sexual coercion but also, particularly in the narratives of young men, instances of more consensual sex. Of importance, in turn, in defining an act as "rape" rather than as "forced sex" are the character of the relationship between the two parties and interlinked ideas relating to exchange and sexual entitlement, love, and the importance of "intention," violation, and "deserving" victimhood.     

Giving Voice to Children's Voices: Practices and Problems, Pitfalls and Potentials

In this article, I explore the lessons that the anthropological debates of the 1980s about writing culture might have for contemporary childhood research within anthropology and the social sciences more generally. I argue that the current rhetoric about "giving voice to children," commonplace both inside and outside the academy, poses a threat to the future of childhood research because it masks a number of important conceptual and epistemological problems. In particular, these relate to questions of representation, issues of authenticity, the diversity of children's experiences, and children's participation in research, all of which need to be addressed by anthropologists in their own research practices with children. Unless anthropologists do so, childhood research risks becoming marginalized once more and will fail to provide an arena within which children are seen as social actors who can provide a unique perspective on the social world about matters that concern them as children.     

The Play is Now Reality: Affective Turns, Narrative Struggles, and Theorizing Emotion as Practical Experience

Discursive approaches to subjectivity have been critiqued most recently for its dismissal of a living body that moves and senses. While identity as performative has proven invaluable to contemporary cultural theory for its dynamic conceptualization of power in everyday practice, the emergence of what some scholars have named an “affective turn” has prompted calls for configuring the body as more than a complex set of significations, but also a vibrant energy field in perpetual emergence. Centered on an enacted story created by two clinical therapists and two South Asian immigrant domestic violence survivors during a therapeutic support group session, this paper brings the affective turn into dialog with narrative theory. I juxtapose two different readings of this clinical “performance.” One interpretation recognizes affect theory’s value for highlighting sensation and the virtual in moments of transformation. Nonetheless I argue it overlooks a lived history. Thus, using a specifically dramatistic approach to narrative, the second analysis stresses the importance of personal experience and meaning-making in strengthening the link between affect and subjectivity. In doing so, the case study also argues for emotion’s critical link to practical and moral experience.     

Purinergic Receptors,Past and Future (Closing Remarks)

Abstract

At the end of a symposium, it is useful to look back, both at the symposium itself and the developments that led up to the symposium. In this spirit, I thought it would be appropriate to tell the story of how I first became interested in purinergic receptors. I am recounting this story not because I believe that my audience has a burning interest in the history of my intellectual development, but rather because it illustrates the power of ideas.     

Forensic fictions: Science,television production,and modern storytelling

This essay uses interviews with television creators, writers, and producers to examine how media practitioners utilise, negotiate and transform forensic science in the production of televisual stories including the creation of unique visuals, character exploration, narrative progression, plot complication, thematic development, and adding a sense of authenticity. Television as a medium has its own structures and conventions, including adherence to a show’s franchise, which put constraints on how stories are told. I demonstrate how television writers find forensic science to be an ideal tool in navigating television’s narrative constraints by using forensics to create conflicts, new obstacles, potential solutions, and final solutions in their stories. I show how television writers utilise forensic science to provide the scientific certainty their characters require to catch the criminal, but also how uncertainty is introduced in a story through the interpretation of the forensics by the show’s characters. I also argue that televisual storytellers maintain a flexible notion of scientific realism based on the notion of possibility that puts them at odds with scientists who take a more demanding conception of scientific accuracy based on the concept of probability.     

Environmental degradation and the ambiguous social role of science and technology

Conclusion Recent anxieties about the deterioration of the global environment have had the effect of intensifying the ambiguity that surrounds the social roles of scientists and engineers. This has happened not merely, as suggested at the outset, because the environmental crisis has made their roles more conspicuous. Nor is it merely because recent disasters have alerted us to new, or hitherto unrecognized, social consequences of using the latest science-based technologies. What also requires recognition is that ideas about the social role of modern science and engineering are embedded in, hence mediated by, larger views of the world. Within such American worldviews, moreover, the status of science and engineering is closely bound up with their perceived effect upon the environment.In the dominant culture, accordingly, the respect given to scientists and engineers is in large measure dependent on their ability to play the central role assigned to them in the historical narrative about progress. As the ostensible heroes of that popular story, they are expected to lead the way in realizing the promise of prosperity and general well-being. The environmental crisis surely has diminished the credibility of that story, thereby causing the social role of science and engineering to seem more dubious — more ambiguous. To be sure, the crisis also may have the effect, for very different reasons, of increasing the power and responsibility of organized science. But the late twentieth-century task of damage control cannot possibly elicit anything like the respect accorded to organized science by the earlier belief in progress.It also is important to recall, finally, that the narrative of progress itself has undergone a disillusioning transformation. The early Enlightenment version of the story depicted scientists and engineers working in the service of a social and political ideal that all people could share. But the later technocratic concept of progress, with its sterile instrumentalist notion of advancing the power of science-based technology as an end in itself, is far less likely to inspire trust. Its patent inadequacies have had the effect of enhancing the appeal, if only by contrast, of the seemingly anti-science ideologies of pastoralism and primitivism. All of which might be taken to suggest that if the scientific and engineering professions want to recover some of the respect and status they once had, they would be well advised to join with sympathetic humanists and social scientists in recuperating some of the idealism that the project of modern science formerly derived from its place within the ideology of progress. That might entail the sacrifice of their technocratic posture of neutrality, dissociating themselves from people and institutions responsible for environmental degradation, and their help in formulating a new concept — which is to say, new criteria — of progress to which they might commit themselves. A primary test of any proposed social policy under this new dispensation surely would be whether it would improve, or at a minimum protect, the life-enhancing capacities of the global ecosystem. *** DIRECT SUPPORT *** A8402064 00011 *** DIRECT SUPPORT *** A8402064 00012 *** DIRECT SUPPORT *** A8402064 00013     

Telling the tree: Narrative representation and the study of evolutionary history

Accounts of the evolutionary past have as much in common with works of narrative history as they do with works of science. Awareness of the narrative character of evolutionary writing leads to the discovery of a host of fascinating and hitherto unrecognized problems in the representation of evolutionary history, problems associated with the writing of narrative. These problems include selective attention, narrative perspective, foregrounding and backgrounding, differential resolution, and the establishment of a canon of important events. The narrative aspects of evolutionary writing, however, which promote linearity and cohesiveness in conventional stories, conflict with the underlying chronicle of evolution, which is not linear, but branched, and which does not cohere, but diverges. The impulse to narrate is so great, however, and is so strongly reinforced by traditional schemes of taxonomic attention, that natural historians have more often abandoned the diverging tree than they have abandoned the narrative mode of representation. If we are to understand the true nature of the evolutionary past then we must adopt tree thinking, and develop new and creative ways, both narrative and non-narrative, of telling the history of life.     

Telomeres and double-strand breaks - all's well that "ends" well. ..

Bailey, S. Telomeres and Double-Strand Breaks - All's Well that "Ends" Well. ... Radiat. Res. 169, 1-7 (2008). Sometimes one's life (including one's science) makes a lot more sense when viewed from the perspective of time, reflected back on over a number of years. That has indeed been the case for me. Strangely enough, the story begins with chromosomes and "ends" with telomeres, both at Colorado State University. And, just as with chromosomes, a lot happened in between. Telomeres were first identified based on their function-they protected the physical ends of chromosomes from interaction with broken DNA ends created by ionizing radiation. While I was at Los Alamos National Laboratory, the sequence of human telomeres was discovered, making probes available that allowed us to re-examine and provide direct support of these early observations; thus began my fascination with telomeres. Chromosome orientation in situ hybridization (CO-FISH) also came onto the scene while I was in Los Alamos. This strand-specific modification of standard FISH, especially when combined with telomeric sequence probes, has proven to be a powerful approach that provides information not available by any other means. Applications have included pericentric inversion detection, distinction between leading- and lagging-strand telomeres, and identification of telomere-double-strand break (DSB) fusions. We also provided the first direct evidence that DSB repair proteins (DNA-PK in particular) are required for mammalian telomeric end capping, and we have been characterizing telomere dysfunction in NHEJ and HR repair-deficient backgrounds ever since. Cells must correctly distinguish between DNA ends represented by telomeres and DNA ends produced by DSBs if all is to end well. Just as these studies have provided new insight into the complex, often surprising, interactions at DNA ends, they also provoke new questions. Whereas it is now well established that DSB repair proteins associate with telomeres, most recently we've been asking whether the reverse scenario holds: Do telomere proteins interact with DSBs? We find that DSBs induced by ionizing radiations are not sufficient to recruit the essential telomere protein TRF2 as an early damage response, so perhaps this interplay is a one-way street. The rest of the story waits to unfold.     

The Magic in the Magic Pudding

This paper offers a narrative interpretation of Norman Lindsay's remarkable children's story, The Magic Pudding. Entering into the spirit of the tale, it seeks to evoke its magic as well as understand it, advocating an approach to the analysis of narrative that is as celebratory as it is critical. Making reference to James Clifford's discussion of ethnographic allegory, it draws on Michael Taussig's analysis of commodity and other forms of fetishism to argue that the pudding can be construed as a fetish object expressive of concerns and tensions haunting the Australian imaginary. The paper addresses such things as the interplay of class, race and sex in Lindsay's story, equality and exclusion, wealth without work, beards and hats and whatnot. In doing so, it responds to the humour and metaphorical play that is the source of the tale's popular appeal by offering the reader a little of its own—not a whole pudding's worth perhaps but at least enough to whet the appetite.     

Narrating September 11: Race, Gender, and the Play of Cultural Identities

This article considers the September 11 tragedy as an event that has created a powerful experience—an astonishing and unthinkable "breach" from the expected and routine—that has riveted the American public and provoked personal storytelling. September 11 and its aftermath have provided an occasion for rethinking and reworking cultural identity. We explore how September 11 and subsequent events have been experienced, constructed, and narrated by African American women, primarily from working-class and low-income backgrounds. These stories, and the commentaries and discussions that surround them, provide vehicles for these women to ponder what sort of social contexts they inhabit, within what sort of subject positions they are placed, and how these may be shifting in light of the attacks and America's "War on Terrorism. [Keywords: African American, narrative, gender, cultural identity]     

Thinking Temporally or Modernizing Anthropology

Recent changes within social and cultural anthropology have made history a key issue, but in this essay I argue that the field has yet to develop the resources that are required to deal with temporality. This point is made through an extended examination of Jean and John Comaroffs work on Christianity and colonialism in southern Africa. Arguably, the Comaroffs read history backward and then present its unfolding as a kind of inexorable logic. In doing so, they homogenize missionary and Tswana "cultures" and attribute agency to abstractions rather than to people acting in particular material contexts. In contrast, I argue for a narrative approach to historical anthropological explanation. The emergent qualities of events—and the variable ways in which capitalism, hegemony, Protestantism, and vernacular modernisms relate—require narrative for explanation, narrative that encompasses within itself the narratives of social actors themselves, [historical anthropology, narrative, the modern, South Africa]     

The Orphanista Manifesto: Orphan Films and the Politics of Reproduction

In this essay, I review the works of filmmakers Bill Morrison and Gregorio Rocha and contextualize their work within a growing apocalyptic cultural movement of film preservationists who identify as "orphanistas." As orphanistas they struggle to reshape and reproduce cultural memory and heritage through reviving "orphans"—films abandoned by their makers. Moving images mimic cognitive memory, yet, depending on reproductive technologies, copies of moving images may organize mass publics and influence cultural imaginaries. Traditionally considered conservative, preservation in the midst of destruction is not only a creative but also an avant-garde act of breathing new life into storytelling and the reproduction of cultural memory. In this essay, I discuss how the surrealist works of Morrison and Rocha radically confront dominant cultural imaginings of race and nation, and I argue that film preservation has the potential of being socially transformative. An interview with Gregorio Rocha follows.     

What Is a Story?

This paper attempts to discover the criteria by which a listener accepts or rejects an item of oral narrative as being a story. The hypotheses are: (1) such criteria relate to structure rather than content, although the listener does not consciously distinguish structure from content; (2) the structure must have a certain minimal and maximal degree of complexity and be of a certain kind; (3) the criteria will hold cross-culturally. Information gathered from ethnographies and folklore literature is inadequate to confirm the hypotheses, but it does not contradict them. An experiment to test hypotheses (1) and (2) produced a certain degree of negative confirmation: listeners rejected as a story any narrative item which did not conform to the structural criteria regarded as minimal by myself; however, they also rejected items which I regarded as well structured but which were bizarre or nonsensical in content. The confusion of structure and content tended to confirm hypothesis (1).