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Πρακτικά Διεθνούς Συνεδρίου 2013
Πρακτικά Διεθνούς Συνεδρίου 2013
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Email:epi@uth.gr
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11
21
27
43
59
Memoryscapes:experimentsindeepeningoursenseofplace
TobyButler
83
HistoryandFilm:AnAudiovisualDatabaseforPostwarArchitecture
andtheCityinGreece
StavrosAlifragkis&GeorgePapakonstantinou
97
Trails/narrativeandthetrailsofnarrative
DafniTragaki&GeorgePapakonstantinou
111
Lookingcriticallyatdifferentmodesofcollecting,archivingandpresenting
oralhistoryattheBritishLibrary
RobPerks
123
II
Seva:,,
[7]
137
:
Chepang
DianaRiboli
153
Oralhistorycrossingnationalboundaries:astudyofbeliefandnonbelief
inthreeEuropeancountries
JoannaBornat&DanielaKoleva
165
:
.brahimEdhemPaa()
MustaphaKhaznadar()
183
(19371949)
205
217
235
243
&
255
Greekeconomiccrisisandimmigrants:agencyandstrategiesofPakistanimigrants
inAthens
EmiliaSalvanou
271
285
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295
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311
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321
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353
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2002:31)
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2006).
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http://www.bl.uk/reshelp/findhelprestype/sound/ohist/ohnls/ohcit/citylives.html.
http://www.bl.uk/reshelp/findhelprestype/sound/ohist/ohnls/nlstesco/tesco.html.
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[19]
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Frisch,Michael.1990.ASharedAuthority.EssaysontheCraftandMeaning
of Oral and Public History. New York: State University of New York
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Perks, Robert & Alistair Thomson. 2006. Critical Developments.
R.Perks & A.Thomson (eds), The Oral History Reader, 2nd ed.
Routledge,113.
Rosenthal, Gabriele. 1993. Reconstruction of Life Stories. Principles of
Selection in Generation Stories for Narrative Biographical
Interviews. In R.Josselson, A Lieblich (eds) The Narrative Study of
Lives.vol.1.London:Sage,5991.
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Abstract
Museumsandvisitorsinthememoryindustryera
The last two decades have witnessed a memory boom which has
manifested itself in a variety of activities such as commemoration
ceremonies, the foundation of monuments and museums, the publication
ofcountlessarticles,books,films,etc.Thismemoryindustry,ithasbeen
argued,maybeseenasareactiontothelackofmemory.AsPierreNora
has put it, we talk so much about memory because is does not exist
anymore. Thus, he argues, there are today many lieux de mmoire,
becausetherearenomilieuxdemmoireanymore.Whatisthepositionof
museumswithinthisframe?Whatkindofmemorydotheyrepresent?Who
gives shape to it? Who is it addressed to? Starting with the assumption
that the museum is one of the sites of memory par excellence, a site of
inscriptionandreproductionofcollectivememoryinparticular,thischapter
setsouttoexaminehowmuseumsaddressthevariousaspectsofmemory
andwhatvisitorsmakeoutofthis.
,
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,,,agazi@otenet.gr.
. Fogu Kansteiner (2006: 285), Huyssen (1995: 36), Lee Klein (2000:
127).
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Huyssen(1995:36).
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(1998).
5
.Olicketal(2011).
.RoedigerandWertsch(2008).
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2001, Assmann 2004). , Hirsch
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PoeticsofHistory.R.NedLebow,WulfKansteinerandClaudio
Fogu (eds), The Politics of Memory in Postwar Europe, Duke
UniversityPress,284310.
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PressesUniversitairesdeFrance.
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.:.
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articlefromwww.eurozine.com.
[41]
[42]
mariavlachaki@yahoo.gr
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DistrictSixMuseum.
1994 Cape Town,
.http://www.districtsix.co.za/(10/7/2011).
[47]
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[58]
Abstract
Museumsandoralhistories:empoweringmemoriesandsocialrelations
Inthecontextoftherecentriseoforalhistoryinmuseumsandexhibitions,
the paper explores some interesting attempts to negotiate the
representationofthesocalleddifficultculturalheritage,i.e.objectsand
topics that may cause traumas, ideological conflicts and social ruptures.
How do museums contribute through the use of oral history to the
strengtheningoftiesbetweensocietyandthosegroupswhicharenormally
excluded from official history and, therefore, from most museum
narratives?Howcanmuseumsmakethemostoftheiroralhistoryarchives
in order to empower peoples sense of belonging to a place and a
community,torepairtraumaticmemoriesand/ortoreconcile?
,
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2
, . Lubar 1997, Day 1997, Green 1998, Chew 2002, Nakou 2005,
2006, Thomas 2008.
( ,
,,.
Museum Practice (15/11/2011, The changing face of oral history, at
http://www.museumsassociation.org/museumpractice/oralhistory,
3/12/2012). ,
(
) :
,
( 2002, 2003),
(. & 2010, 2011),
: (2009),
5.000, 15.000, 200.000
.
,
,
..
[60]
,
.
.1.JamesRosenquistF111
JamesRosenquist,1960,
F111 (. 1). K ,
,
. Museum of Modern Art
,
1964
,
.
,
, ,
, ,
.3 Michelle Elligott
: ,
,.
3
Athttp://artnews.gr/index.php?option=com_content&view=article&id=2269:
moma&catid=38:nea&Itemid=399(:24/5/2012).
[61]
,
(Cooke2011).
.2.
,
50 (. 2). ,
.
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(2005).
()
.Sharon
MacDonald Difficult Heritage,
.
MacDonald,
,
, ,
, (MacDonald 2009:13).
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[62]
, , ,
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(conflict archaeology),
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( 2012).
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4
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ICMAH IAMTH, , , ICOM
( 2011), difficult heritage: ,
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(at
http://www.icmah2011.net/index.html,22/11/2012,
2012(),).
,
, ,
,
(battlefield archaeology), . Saunders
2004.
[63]
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2010,
1933 1945,
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(Erpel 2011)5 (. 3). ;
,
..Ravensbrck"TheSSauxiliary"(
SS)
,(Erpel2011),
Paul
Thompson ,
(1978:1).
5
2010.:22/11/2012:
http://www.dhm.de/ausstellungen/hitlerunddiedeutschen/en/ausstellung.html,
http://www.impunitywatch.org/upload/UserFiles/file/Report_mini_conference_Memorialisation.pdf,
22/11/2012. .
The involvement and representation of victims and
perpetrators in memorialisation processes
.
[64]
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[65]
() o
(Chametzky 2008:216). ,
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Gaynor Kavanagh, o
(dreamspace),
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2000).
,
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. , Sheldon
Annis 1980,
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[66]
(Annis
1987).
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District Six o Cape Town ,
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[67]
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(Walsh 1992, Macdonald 2003,
Prior 2006):
,
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memory communities,
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[69]
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1989, Lowenthal 1998, Rowlands 2002).
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(Butler 2011). Butler Rowlands
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.
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Rowlands 2012), , ,
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2010).
[70]
.6.JanusPannonius
: Janus Pannonius
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, (Booth 2006),
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.7
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http://www.nma.gov.au/__data/assets/pdf_file/0019/19081/Museums_represent_full_colour.pdf
http://nma.gov.au/schools_bellsfalls/main.html(:3/12/2012).
[72]
.7.,
Wiradjuri o 1824.
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3/12/2012).
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.:,125150.
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,8:7276.
,.2005..
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, . 2002.
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T.I.C.C.I.H. (,
20222000),,191200.
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,http://cretaadulteduc.gr/blog/?p=377.
& (). 2010. .
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,75124.
,.().MuseumsandDifficult
Heritage(16182011),Ilissia,:
.
, . 2006. ICMEICOM.
.(,1823
2005),3:6769.
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Huyssen,Andreas.1995.TwilightMemories:MarkingTimeinaCultureof
Amnesia.:Routledge.
Kavanagh, Gaynor. 1996. Making Histories, Making Memories.
Gaynor Kavanagh (ed), Making Histories in Museums, :
LeicesterUniversityPress,114.
Kavanagh, Gaynor. 2000. Dream Spaces, Memory and the Museum.
:LeicesterUniversityPress.
KorenchyMisz,Anik.2009.Thenewcomersview:interculturaldialogue
and Hungarian museums. Simona Bodo, Kirsten Gibbs,
MargheritaSani(eds),MuseumsasPlacesforInterculturalDialogue:
SelectedPracticesfromEurope,MAPforIDGroup,7487,
http://www.mapforid.it/Handbook_MAPforID_EN.pdf.
Kushner,Tony.2001.OralHistoryattheExtremesofHumanExperience:
HolocaustTestimonyinaMuseumSetting,OralHistory29/2:8394.
Lowenthal, David. 1998. The Heritage Crusade and the Spoils of History.
:CambridgeUniversityPress.
Lubar, Steven. 1997. Exhibiting Memories. Amy Henderson &
Adrienne L. Kaeppler (), Exhibiting Dilemmas. Issues of
Representation at the Smithsonian, :
SmithsonianInstitutionPress,1527.
MacDonald, Sharon. 2003. Museums, National, Postnational and
TransculturalIdentities,MuseumandSociety1/1:116.
MacDonald,Sharon.2009.DifficultHeritage:NegotiatingtheNaziPastin
NuremburgandBeyond.:Routledge.
Nakou, Irene. 2005. Oral history, Museums and History Education,
Can Oral History Make Objects Speak?
(,18212005,
athttp://icme.icom.museum/fileadmin/user_upload/pdf/2005/nakou.pdf.
Nora,Pierre.1989.BetweenMemoryandHistory:lesLieuxdeMmoire,
Representations26:725.
Prior, Nick. 2006. Postmodern Restructurings. Sharon Macdonald
(ed), A Companion to Museum Studies, : Blackwell, 509
524.
Rasool, Ciraj & Prosalendis, Sandra. 2001. Recalling Community in Cape
Town: Creating and Curating the District Six Museum. :
TheDistrictSixMuseum.
Ross,Max.2004.InterpretingtheNewMuseology,MuseumandSociety
2/2:84103.
Rowlands,Mike.2002.HeritageandCulturalProperty.VictorBuchli
(ed),TheMaterialCultureReader.:Berg,105
114.
Sandell, Richard (ed). 2002. Museums, Society, Inequality.
:Routledge.
[78]
[79]
[80]
emoryscapes:experimentsindeepeningoursenseofplace
TobyButler1
:
,.Toby
Butler
.
.
TobyButlerisseniorlecturerinhistoryattheRaphaelSamuelHistoryCentre,University
ofEastLondon.t.butler@uel.ac.uk.
[83]
TobyButler
and more practically as a potential medium for oral historians to use for
presentingworktothepublic.Isetouttoconstructtwooralhistorytrails
or memoryscapes of my own near my home which at the time was a
houseboatmooredoffasmallislandintheRiverThamesinWestLondon.
One of the first hurdles to constructing a trail is to decide on a
methodofchoosingaroutethroughthelandscapeaswellasthesubject
matter. After working on Graeme Millers Linked project I was heavily
influencedbyhisapproachofusingaroutewayinhiscaseamotorway
asawayoflinkingaseriesofostensiblyunrelatedplaces;anideathathas
also been adopted in literature. Authors have made many creative
attemptstotreattransportroutesasdestinationsinthemselves,worthyof
commentandstudy.Thusthekaleidoscopic,evenchaoticaccumulationof
impressionsinPlattsLeadville:ABiographyoftheA40givesusmanytakes
onreality;cumulativelywefeelthatwesomehowknowtheroadbythe
time we reach the end of the book (Platt 2001). Iain Sinclairs London
Orbital: A Walk Around the M25 (Sinclair 2003) and Patrick Wrights The
River;theThamesinourTime(Wright1999)bothusearoutetoorganise
reflections.Usingtheconceitofajourneyisaquicklyunderstandableway
oforganisingnarrative;ithasanaestheticofitsownthatcanembracethe
unusualandtheunexpectedinacreativeway.
Having lived on the Thames in a houseboat for ten years, I was
acutelyawarethattheriverinLondonwasanentityinitselfwithaculture
ofitsown,yetmanyLondonersseemedtospatiallycomprehendtheriver
more as a border, an administrative and cultural dividing line between
north and south. Maps of conservation areas and local government
boundaries often ended up in the middle of the river. I happened to live
there,thisledtoabsurditiesforexampleIvotedandpaidmylocaltaxes
toalocalauthorityonthenorthsideoftheriver,yetallmyservices,such
asrubbishcollectionwereprovidedbyanotherauthorityonthesouthside
of the river. A report by the London Rivers Association summed up this
fracturedapproachtoLondonsriver:
Theoppositesthatstructurethemindsetsoftheplanningandbuiltenvironment
sectors, local/strategic, natural/urban, brownfield/greenfield and even
water/landseriouslyhandicapourabilitytothinkabouturbanwaterspacesand
their relationship with the city and beyond. The zones, hierarchies (of policy,
plansandstrategies),sectoralboxesandcheckliststhatresultfrom,andreinforce
this approach effectively undermines the spatial configurations and naturalness
ofriverswhichrefusetoconformtothesociallyconstructedlinesonplansandin
strategies (as many of the annually flooded towns and cities now contend).
(Munt&Jaijee2002:75)
Withthisinmind,Iwantedtofindawayofacknowledgingthespatialand
naturaldimensionsoftheriverbydevelopingamoreartisticandintuitive
approachtostructuringmyfieldwork.Idevelopedamethodofusingthe
[84]
Memoryscapes:experimentsindeepeningoursenseofplace
currentoftherivertofindmysampleofriverintervieweesandphysically
link their lives up. A float was made out of driftwood and other river
carriedmaterial,usingadesignborrowedfromhydrologiststhatusefloats
totrackcurrentsinriversandoceans(fig.1).Ifollowedthefloatformany
days,trackingitsroutethroughLondon,andnotingwhereitcollidedwith
the bank (or any other interesting thing). In this way I wanted to
experience London from the river, feeling its flow and using a natural
phenomenonasamemorypaththroughthemoderncity.
Fig.1.ThedriftingfloatusedtofindintervieweesinWestLondon
Many of these collision points became sound points on the walk,
asmoreoftenthannotapotentialintervieweewouldbecomeapparent
thefloatwouldhitaboatorapropertythatwasownedbysomeone,ora
place where an individual was working or resting, and people were
generallywillingtoberecorded.Usuallythismeantanindepthinterview
at their home or place of work at a convenient time. The method
presentedsomeseverechallenges.Movingatthepaceoftheriver,often
inarowingboat,tookagreatdealofpatience(insomestretchesitmoved
at less than 1/10th of mile an hour, or even flowed backwards with the
tide). Some places the float hit seemed so barren that it became a real
challenge to find a connection with human culture, but I found that if I
waitedlongenoughandlookedhardenoughaconnectioncouldoftenbe
made.Anoldoutfallpipeofadisusedwaterworksledtoaninterviewwith
a retired water engineer, for example. The flow of the river suggested
quietandnoisypoints.Turnsintheriverusuallypresentedmewithmore
[85]
TobyButler
Memoryscapes:experimentsindeepeningoursenseofplace
walking and listening nonstop. The overall effect has been described by
onereviewerasbeingalittlelike aZen koan; a fluid pattern of multiple
agendas, effecting and being effected by the Thames and its social,
political historical and economic sectors. Each location and narrator is
accompanied by the rivers own music, its aural ebbs and flows, the
creaking of wooden boat joints, the wash, a tugboat toot, bodying the
worldofamajorurbanriverway(Friedman2006).
Fig.2.PosteradvertisingtheDriftingtrail
The drifting float method used to find interviewees became
unworkable in the eastern part of London. The author Patrick Wright
roughly divided up river culture into two sections upriver people who
believe that the Thames starts in a field in the Cotswolds and makes its
way between tea rooms and thatched pubs down to London, and
downriverpeoplewhobelievethattheLondonThamestrulystartsatthe
sea and works its way up the estuary. My downriver float fought bravely
on from the first/last tidal lock at Teddington and got about as far as
KelmscottHouse,WilliamMorrisshomeinHammersmith.Fromtherethe
floatbecameimpossibletofollow;theriverwastoowide,tidalandstrong
flowing for there to be enough points of impact with the bank. The float
eithershotalongthemidflowoftheriverorwaspropelledbackwardsfor
hours as the tide came in. To see this strange effect, walk along the
ThamesinEastLondoninMarchandwatchtheChristmastreesfloatingup
[87]
TobyButler
anddown,trappedinastrange,slowtidaldanceafterbeingtossedintwo
monthsearlierinthevainhopethattheriverwouldtakethemaway.
To have continued with my earlier method would have taken
months.FortheDockerstrailIusedthesamestyleofariverculturebased
walk,usingbinauralrecordingsoftheroute,butthistimeIdrewonarare
collection of 200 interviews with dock workers, now archived at the
Museum in Docklands but recorded over 20 years ago when the London
Dockswereshutdown.
The route runs from picturepostcard Greenwich, starting at the
remainsoftheCuttySarkteaclipper,andrunsalongthequaysidesofthe
Greenwich peninsula to end up at the extraordinary Millennium Motel,
partgreasyspooncafe,partgypsycampsite,intheshadowsoftheDome.
The memories used encompass dramatic events, such as when the
GreenwichfoottunnelwasusedashelteragainsttheZeppelinraids,butis
mostlyconcernedwithlifeinthedocksidecommunitiesfromchildhoodto
working on the barges, cranes and warehouses near the river. The
experienceofstandinginfrontoftheruinsofanoldcrane,andhearingthe
prideinthevoiceofacranedriverwhotellsushecouldpickupanything
fromanelephanttoapacketofpinsgivesastrangesensationofbringing
the past present in a very direct way that no memorial or information
board can touch if you visit this website you can hear his words
(www.memoryscape.org.uk/Dockers05.htm)(fig.3).
Fig.3.Lovellswharfcranebasein2007
(nowdestroyedandreplacedbyapartments)
[88]
Memoryscapes:experimentsindeepeningoursenseofplace
Fig.4.LovellsWharfasthecranelookedinthe1950s
Since making the trail, Lovells Wharf (fig. 4) and the Millennium
Motel have both been demolished to make way for apartment blocks. I
hope that walkers are given the chance to make meaning of a confusing
postindustriallandscape;understandalittleoftheculturethatwasonce
there, and reflect on the fact that the last remains of this industrial
landscapearelikelytodisappearforever.Theexperienceisnotnecessarily
nostalgic;thepresentindustryontheriverandtheexisting(andchanging)
lifealongtheroute,bothnaturalandhuman,temperthepullofthepast
tosomeextent;andarecentinterviewwiththeowneroftheMillennium
Motel at the end of the walk gives a positive view of the residential
developmentofsomeveryderelictareas.Ihopethevarietyofvoicesand
stories give a nuanced and complex impression of the area rather than a
whollynostalgicordeveloperhappyimpressionofnothingbutviewsand
progress.
Oneofthetrickiestelementsofdesigningthewalkswasdeciding
howmuchnarrationtoinclude.Thefirstversionofthewalkdidnothave
any narration, because I wanted to get as far away as possible from the
authorial/tourguidestyle.Peoplejusthadtousethemapsandworkout
whattodo.Inthepilotstudyitwasclearthatsomepeoplelikedit,buta
lot of people were not sure what was going on. The whole drifting
experiment got lost; people wanted to know who/why people were
includedandtheywantedtofeelthattheywereintherightplace.Artists
likeGraemeMillercelebratetheideaofgettingabitlostbecausethatis
[89]
TobyButler
Memoryscapes:experimentsindeepeningoursenseofplace
peopleasopposedtoamonovocalguide,andtoprefershortertracksthat
usedmorethanoneinterviewee.
For me the most exciting finding was that the walks seemed to
engender a feeling of identity with the landscape. Respondents reported
that using a variety of senses, imagination, and references in the
landscape, all helped to make the experience more meaningful and
therefore memorable. Creating these connections, or links to place seem
tohavehadledtoafeelingofcloseness,orrootednessforsomepeople.
One newcomer to London wrote now I know a sense of a beginning
attachment. Another walker described the process beautifully as
deepening my attachment to the river. Like roots shooting off into the
soil.Severalpeopletalkedabouttheexperienceaddinganewreality,ora
new dimension of reality to the existing landscape. Furthermore, anyone
whovisitsthelandscapeagaincanusethoselinkstoremembersomething
ofthestoriesthattheyheard.Thus:
Memoryscape has made me consider the part the river has played in so many
peoples lives. I think about this whenever I visit the river since listening to the
recordingdrifting.
Perhapsthisaspectoftheexperiencecouldbeofinteresttothosewishing
toencouragefeelingsofbelongingandidentityinaparticularcommunity
orlocation.
On the other hand, the intimacy of some of the recordings
combinedwithhearingthemoutsidesomeoneshouseorworkplacemade
some people feel uncomfortable, particularly if the memories involved
referred to recent circumstances. For example, one track featured a
number of neighbours talking about a new house in the area the
footpath was located opposite the house that had enormous plate glass
windows and you could see inside. Hearing details of the house and
peoplesviewsofitseemedtobecomemorepowerfulwhenstoodoutside
the house itself, and there is a danger that using oral history in this way
could verge on the voyeuristic. However, as the memoryscape process
involved listening, understanding, consent and empathy I think it ran
contrary to an act of voyeurism, which is based on the powerlessness of
thesubjectbutIthinkitisworthpointingoutasapotentialconcernwith
locationbasedoralhistory.
Another interesting issue that came up was how conversational
recordingcanbecomequiteadifferentbeastwhenlistenedtoinspecific
locations. For example, one couple had described to me how their idyllic
riverside bungalow suffered from sewerage flooding, due to the sewers
being overrun by the sheer number of properties built in the area. The
intervieweesobjectedtotheinclusionoftheseweragestory,becausethey
[91]
TobyButler
feltthatitmightaffectthepriceoftheirpropertyifapotentialbuyertried
the walk. In the end the clip was kept in with the agreement that their
namesandtheexactlocationoftheirhousewouldnotbementioned,but
thiswasaninterestingexampleofhowthenewcontextfortherecording
canintroduceawholenewsetofethicaldilemmas.
Thefutureofthememoryscape
Locationbased technology is becoming widespread. Incar satellite
navigation and MP3 players are now almost ubiquitous. Now new
generationsoflocationawaretabletcomputersandphoneswithgpschips
suchastheiphonearesellingintheirmillions,andwearealreadyseeing
local, national and even worldwide grids of information. A long awaited
EuropeanGPSsystemwilleventuallymakenavigationmoreaccuratethan
everbefore;newlocationbasedgamesandentertainmentswillbecoming
that make use of these location aware systems; mobile internet services
arebecomingcheaperandinsomecitiestheywillbefree;andthesound
walk, memoryscape or its multimedia equivalent will be rapidly evolving
asdifferentdisciplinesandsectorsexploreitspotential.
Memoryscapesarealreadybeingjumpedoncompaniesinterested
in promoting brand awareness through new technology. Adidas have
sponsored sound walks of graffiti walls in the Bronx in New York and in
Glasgow Tennents Lager commissioned a freely downloadable MP3
walking tour of Glasgows music venues; more recently several local
authorities and heritage organisations have commissioned similar app
based trails delivered by mobile phone. Computer manufacturers and
software developers such as Hewlett Packard have long invested in
research and development work for outdoor, mobile computing which
includes locationbased computer games that can geographically locate
players in real time using gps. Content will be varied according to other
realworld sensors, such as heart rate, direction and light using bio
mappingtechniques(Nold2006).InBritainaBAFTA(ourequivalentofthe
Oscars)wasawardedtoaBBCproducerforcreatingaseriesofaudiowalks
(linkedtotheCoastdocumentaryseries),andtherearevariouswebbased
portals for local groups or organisations to podcast their own walks
territory already being rapidly dominated by Google Earth and Google
Maps.
The medium should certainly not left solely for the market and
large institutions to dominate. At best, this cultural, historical and
geographicalinformationsystemcanbeusedtointroducemultiplevoices
andconflictingreadingsofthelandscape(andthosethatmoveandlivein
it).Itcanalsobeanempoweringandexpressiveuseoftechnologyforthe
gazed at (or listened to). Just as simple websites can be constructed by
[92]
Memoryscapes:experimentsindeepeningoursenseofplace
[93]
TobyButler
Fig.5.WalkersexperiencingamemoryscapeattheRoyalDocks
Hopefully the process of creating and walking the trails will also
provideopportunitiesforpeopletobuildidentityandempathywiththeir
surroundings that feeling of rootedness , particularly for substantial
proportions of the local population that are very new to the area (new
dockside development residents; school children; newly arrived ethnic
groups;studentscomingtotheUniversityofEastLondon).Inchartingthe
areas cultural, industrial, maritime and natural history before it is gone
forever, we are also setting out to invent the traditions of a sustainable
future which builds on rather than disregards local resources, both
environmentalandhuman.Ouraimistodothisinanactive,participatory
way which gives local people new skills whilst at the same time giving
some kind of context to the wider process of regeneration which for the
firsttimeisbringinglargenumbersofmiddleclassprofessionalstoliveand
workaroundthedocks.Theprojectreallydoeshavethepotentialtogive
past and present residents a voice in one of the most rapidly developing
urbanareasintheworld.
Weshouldallbekeepingacloseeyeonthelocediaphenomenon,
whichcouldhaveanimpactasbigastheinventionoftheprintingpress.
Whatever technologies evolve, they will all need one thing interesting,
located(local)content.InthefutureIcanforeseegreatdemandforpeople
with existing skills in local and oral history, particularly for people who
[94]
Memoryscapes:experimentsindeepeningoursenseofplace
have experience of recording and editing and can manage the technical
and ethical challenges that creating public oral history entails. New
producers will also come into the field, and they will need guiding and
traininginthepracticalitiesandethicalaspectsofrecordinglocalpeople.
Archivistsmayalsofindthatthereismuchmoredemandforlocalandoral
history archive recordings. Finally, and perhaps most importantly, this
medium will give communities, groups and disciplines an alternative
outputthatcanbeimmersive,complex,multivocal,accessibleandwith
realpublicappeal.
The two memoryscape walks, drifting and dockers can be
downloaded(orexperiencedonline)atwww.memoryscape.org.ukandthe
latest Ports of Call trails are available from www.portsofcall.org.uk; trails
created by staff and students on the MA in Heritage Studies: Place,
Memory and History, that I lead, can also be found at www.raphael
samuel.org.uk
Bibliography
Butler, T. 2005. Linked: a Landmark in Sound, a Public Walk of Art.
CulturalGeographies,12/1:7788.
Friedman, J. 2006. Media Review: Drifting, from Memoryscape Audio
Walks. Produced by Toby Butler. Oral History Review, 33/1:107
109.
Miller,G.(Artist).2003.Linked:aLandmarkinSound,anInvisibleArtwork,
aWalk[Soundinstallation].
Munt,I.,&Jaijee,R.2002.Postscript.InRiverCalling:theNeedforUrban
WaterSpaceStrategies.London:LondonRiversAssociation.
Nold, C. 2006. Bio Mapping. http://biomapping.net/ Retrieved 24 March,
2006
Platt,E.2001.Leadville:ABiographyoftheA40.London:Picador.
Sinclair,I.2003.LondonOrbital.London:Penguin.
Till, K. 2003. Places of Memory. In K. M. J. Agnew, G. O'Tuathail (Ed.),
Companion to Political Geography, Oxford and Cambridge:
Blackwell,289301.
Wright,P.1999.TheRiver:theThamesinOurTime.London:BBCBooks.
[95]
[96]
HistoryandFilm:AnAudiovisualDatabaseforPostwarArchitectureand
theCityinGreece
StavrosAlifragkis1&GeorgePapakonstantinou2
.
,
,
.
1950
1960 ...
.
Introduction
This paper readdresses the concept of the archive with reference to the
representation of architecture and the city via the moving image. Here,
some initial remarks from ongoing research conducted at LECAD,
Department of Architecture, University of Thessaly will be presented in
brief.TheprojectisfundedbytheResearchCommitteeoftheUniversityof
Thessaly. Using Lev Manovich and Umberto Ecos seminal work on the
database and the list respectively as a point of departure, this research
examines how our understanding of the city and its architecture can be
shapedusingthemovingimageasourprimaryresource.Forthispurpose,
the project involves the setting up of an online multimedia database.
Initially, the pilot prototype will be using archival material from the
collectionsoftheHellenicNationalAudiovisualArchivefromthe1950sand
1960s, when the Greek urban landscape experienced unprecedented
construction activity. This entails handling approximately 250 newsreels
thatdepictdailylife,socialeventsandofficialstateceremoniesinAthens
1
PostdocResearchAssociate,LECAD,DepartmentofArchitecture,UniversityofThessaly,
email:sa346@otenet.gr
2
AssociateProfessor,LECAD,DepartmentofArchitecture,UniversityofThessaly,
email:gpapakon@arch.uth.gr
[97]
StavrosAlifragkis&GeorgePapakonstantinou
andothermajorGreekcities.Effortswillbemadetoenrichthedatabase
with complementary material from private collections that narrate the
informalhistoryofthecity.Thepaperdiscussestheconceptualframework
for setting up the project, compiling the database, and annotating the
mediafileswithmetadata.
HistoryandCinema
Historyisthatcertaintyproducedatthepointwheretheimperfections
ofmemorymeettheinadequaciesofdocumentation.(Barnes2011:30)
AdrianFinnsoneofJulianBarnessmaincharactersfromTheSenseofan
Ending (2011) aphorism attributed in the novel to Patrick Lagrange, a
fictional character of French descent (Sexton 2011:3031) deems
historical research possible solely by virtue of our integral inability to
record, recall and communicate the past even the recent past with a
certaindegreeofdetail.Temporaldistancefromtheactualeventsonthe
onehandandtheinherentsubjectivityofinterpretationontheotherhand
areboundtochallengeonesabilitytodocumenthistoryasaccuratelyas
possible. This does not necessarily constitute a shortcoming as far as
recordingandrecountinghistoryisconcerned.Rather,Barnesappearsto
questionexisting,widelyheldviewsabouthistoricaltruth,byundermining
suchabsolutetermsasthehistoricalfactandbyconsideringnarrationasa
crucialaspectandintegralelementofeveryhistoricalrecord.Indicatively,
Barnesprotagonistnotes:IfIcan'tbesureoftheactualeventsanymore,
Icanatleastbetruetotheimpressionsthosefactsleft(Barnes2011:12).
Barnes is neither the first nor the only author to undermine both the
predominance of the official narrative and the credibility of the
protagonistnarrator.3 Fermentations that took place over a long span of
time both within and across the scientific fields of history and
historiography facilitated what can be described as the transition from
History to histories and from official, formal sources to the life stories of
oralhistory.Furthermore,thesedevelopmentsrendertheactofresorting
toimpressionswithreferencetothenarrationofhistoricaleventsasa
generally accepted practice. Hence, according to Barnes, human
imperfection a failing memory and the multiplicity of interpretations
allows for the fascinating narrations that characterise contemporary
histories, even beyond the literary, fictional renderings of reality, well
withintherealmofscientificendeavour.
3
In Exit Ghost (2007), Nathan Zuckerman, Philip Roths elderly protagonist from the
Zuckerman series, is betrayed by his failing memory and resorts to fiction to compensate
forthelackofconcretefactsinhisdailylife.
[98]
HistoryandFilm
Cinemaandhistoryhavebeenfollowingintertwiningpathseversince
cinema was conceived as a vehicle for telling coherent stories about life.
On occasion, however, their crossing trajectories trigger interesting
debates about their statuses as apparatuses for capturing and
representing, or rather reconstructing, reality. One such instance is
ChristianZimmers1974critiqueoncinemathatfocusesonthemediums
ability to convey an illusion, an impression of reality, a quality inherited
from photography. This constitutes, according to Zimmer, both a great
virtue and an intrinsic flaw. Zimmer attributes the persistence of
illusions/impressionsincinematothebourgeoisideologyofthoseinvolved
infilmmakinganditspervasivenesstothematchingideologyofthosefor
whomthemoviesareintended(Zimmer1976:92).D.I.Grossvogel,inhis
illuminating review of Zimmers study, notes that for the latter: [t]he
motion picture is involved in a definition of history inasmuch as it is a
record, whether that record be documentary or artistic (Grossvogel
1975:52). Grossvogels comment bears particular weight as this study
wishes to emphasise the bilateral osmosis between cinema and history,
bothintermsoftheirsubjectmatterandintermsoftheirmethodologies.
In 1976, Marc Ferro publishes his pioneering work on cinema and
history (Ferro 1976; Ferro 1993). This, according to Ferro, marks a
significantmilestoneforcinematheoryandinterpretationasitisthefirst
timehistorybecomesinterestedinnarrativecinema,thatis,thefirsttime
a film is being considered both as a historical agent and as a historical
document (de Baecque & Delage 1998; Toplin 2002; Delage & Guigueno
2004; de Baecque 2008; Burgoyne 2008). Here, Ferro acknowledges the
aforementioned aspect of cinemas ideological function and establishes
the fact that the reality of every film constitutes an ideological construct
worth revisiting, even if only to study how societies perceive themselves
onscreen.Ideally,ourstudywillexploretheextentandthevariousways
cinemainformsourhistoricalconscienceandwouldcontributegreatlyto
theongoingdiscussiononasubjectthatFerrotermsthefilmicwritingof
history (Ferro 1993:197205). Some thirty years later, in 2003, Ferro
returns to his favourite subjectmatter with updated reflections on the
representation of the past, the present and the future in cinema and its
roleincomprehendinghistory(Ferro2003).
A decade after the publication of Zimmers polemic on cinematic
exegesesbyvirtueofpurelyaestheticAndrBazinsapproachorpurely
technological Jean Mitrys approach means (Zimmer 1976:93), French
theoristPaulVirilioproduceshisseminalworkoncinemaandwar(Virilio
1984).Here,Viriliodiscussesthemovingimagenotasarecordbutrather
as a catalyst of reality. He stresses that the work produced by military
photographic and film companies such as the US Army Pictorial Service,
establishedin1942byGeneralGeorgeC.Marshall(18801959)withaview
[99]
StavrosAlifragkis&GeorgePapakonstantinou
to producing educational and propaganda films for the army and the
general public differs significantly from the use of the moving image as
anindirectsightingdevicecomplementingthoseattachedtotheweapons
ofmassdestruction(Virilio2000:1):amediumforenablinghistoryinthe
making. Indeed, the misuse of cinematic techniques in this case could
significantlyalterthecourseofahistoricalevent.
CanadianAmerican historian Natalie Zemon Davis, in her ground
breakingstudyonslaveryincinema,embarksfromsimilarstartingpoints
toFerro; she challengeshistorians preference for explanations and strict
accounts over engaging narrations a practice established as early as
Herodotus and Thucydides times and questions what contemporary
literature on historiography accepts as valid historical document. Her
valuablecontributiontothetopicofhistoryandcinemacanbepinpointed
toherabilitytoaddressthefilmspotentialfortellingaboutthepastina
meaningful and accurate way on several overlapping levels: the films
subjectmatter, its story and plot and its narratological mechanisms.
Furthermore, Davis successfully examines how all of the above facilitate
the construction of cinematic representations of historic events. These
often entail employing research and representational strategies typically
associated with the contemporary practices of microhistory (Davis
2000:115).Moreover,sheseekstoimplementherinnovativeapproachto
narrative,fictionfilmsandnotdocumentaries,which,bydefinition,make
differentclaimsonreality.Inthisrespect,Davisworkbecomesasourceof
inspirationandsetsthebenchmarkforsimilarfutureendeavours.
Davis approach signposts the way towards revisiting cinematic texts
withaviewtoreappraisingtheircontributiontofillingcomplementingor
contradictingthegapsofhistoricalnarrative.Hermethodologicaltoolkit
maybeputtoeffectiveuseinacriticalreconsiderationoftheworkofthe
renowned Greek filmmaker Theo Angelopoulos (19352012), who had
systematically addressed the representation of historical events on the
canvas of the screen (Jameson 1997:7895; Demopoulos & Liappas
2001:1622; Horton 1999:5572&102126). Angelopoulos screen
vocabulary,grammarandsyntaxhaveparticularbearingonthecinematic
reconstruction of history for two main reasons. First, he had been
experimenting systematically with formal structures that resemble the
narrative formats of microhistory. Second and most important, he
consistently used alternative sources of historical information for
inspirationoraltestimoniesinparticularrecordedbythedirectorhimself
or press clippingswhich worked their way into the final script and,
eventually, the movie (Angelopoulos 2006:5665). One is bound to make
special mention Angelopoulos first feature film Reconstruction (Greece,
1970). Here, interviews with local villagers on the subject of immigration
conducted by the film crew sadly counterpoint images of a picturesque
[100]
HistoryandFilm
OralHistoryandtheMovingImage
OliverFieldsMikeMillsprotagonistfromtheBeginners(2010)playedby
Ewan McGregor inherits Arthur, his fathers dog, after the death of the
latter,playedbyChristopherPlummer.AsheintroducesArthurtohisnew
environs, Oliver embarks on a poetic, highly idiosyncratic and elliptical
descriptionofhisandhisparentslifeandtimes:
[OliverFields]Arthur,youarecomingtolivewithmenow.OK?Thisismycar.Thisis
the dinningroom where people come and eat sometimes. This is the livingroom.
Thatsthebathroom.[internalmonologue]Thisis2003.Thisiswhatthesunlookslike
andthestars,nature,thisisthePresidentandthisisthesunin1955andthestarsand
nature and cars and phones and movies and the President. This is what pets looked
like. These are fireworks. This was smoking. This is what it looked like when people
4
kissed,whentheywerehappy,whentheyweresad.
Fieldsinternalmonologueiscounterpointedwithhighlyevocativeimagery
consistingofstillshotsdepictingrandomfragmentsofdailylifefrommovie
publicityandpromotionalmaterial,printedadvertisement,postcardsand
family memorabilia. Could Mills cinematic experiment with memory,
historyandthemovingimagebeinterpretedasapotentstatementabout
our societys growing reliance on the various products of popular culture
fortheeffectivereconstructionofourrecentpast?Ifthisisthecase,then
onehastoacknowledgethecomparativeadvantageofthemovingimage
asanexpressivemediumforcapturing,preservingandcommunicatingthe
spirit of our times. Currently, the proliferation of the use of various
recording apparatuses is bound to lead to the critical reappraisal of the
mediums role in documenting life. Nonetheless, the fact that, by and
large, contemporary audiences are moving image media literate justifies
theenduringappealofthissemanticallyrichresource.5
Ferro appears to be rather firm about this; the moving image has
prevailed. It is mainly the AngloSaxons and chiefly the anthropological
4
Mill in complete accordance with current trends that call for certain ambiguity when
recalling past events and even events of the recent past has his protagonist add: Six
monthslatermyfathertoldmehe wasgay.Hedjustturned75.Ialwaysrememberhim
wearingapurplesweaterwhenhetoldmethisbutactuallyheworearobe.
5
Various organisations around the world research how people, especially children,
understand and analyse moving images and explore the potential for exploiting their
expressiveness: http://www.movingimageeducation.org/ or http://mediaed.org.uk/ [last
accessed:23/04/12].
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StavrosAlifragkis&GeorgePapakonstantinou
studies that have embraced the use of film as a heuristic research tool,
however, these practices begin to grow geometrically. Nowadays, digital
camcorders that have replaced the video cameras and the video
recordersofthe1980senablemyriadsofcinematicprojectsthatcallforth
memoriesandoraltestimoniesinordertonarratethehistoryofourtimes.
These contribute to the production of a counterhistory, an unofficial
history, freed from the limitations dictated by the formal handling of
traditional archival documents. Thus, this kind of cinema a cinema that
counterpoints official history with heavy dosages of subjectivity and
relativeness can function as a potent historical agent insofar as it
contributes to the formulation of our historical consciousness (Ferro
2002:2425).
Recent attempts by research institutions in Europe and across the
Atlantic demonstrate that the academic community has taken on, rather
enthusiastically, the responsibility of developing a framework for dealing
withsoundandthemovingimageasavitalresource.Thisinvolvestackling
both practical aspects publishing common sets of guidelines for
professional practices, technical requirements and legal issues and
regulating the conceptualisation process. This involves a wideraging
discussion that thematises, among other aspects, cinemas various truth
statuses.OnesuchexampleistheEUfundedcollaborativeprojectentitled
TAPE: Training for Audiovisual Preservation in Europe (20052008).6 The
projectpublishedanumberofreportsavailableonlinethatdocumentin
detailboththeprocessesinvolvedindealingwiththemovingimageasa
historical agent and the potential outcome.7 Similarly, organisations such
as the International Oral History Association and the International
Association of Sound and Audiovisual Archives are contributing to the
establishmentofbroadlyacceptedstandardsfortheethicsandthecodes
of oral history.8 In accordance with these developments, the British Oral
History Society9 disseminates reports on the collection, preservation,
digitisation and effective exploitation of audiovisual material for the
reconstruction of the recent past. The work produced by the South East
6
TAPETrainingforAudiovisualPreservationinEurope:http://www.tapeonline.net/[last
accessed:23/04/12].
7
For
relevant
information
please
refer
to:
Available
Online:
http://availableonline.wordpress.com/; Alliance of Digital Humanities Organizations:
http://www.digitalhumanities.org/; The Arts and Humanities Data Service:
http://www.ahds.ac.uk/index.htm; JISC Digital Preservation & Records Management
Programme:
http://www.jisc.ac.uk/whatwedo/programmes/preservation.aspx
[last
accessed:29/04/2012].
8
International Oral History Association: http://iohanet.org/index.php; International
Association of Sound and Audiovisual Archives: http://www.iasaweb.org/ [last accessed:
01/05/12].
9
(British)OralHistorySociety:http://www.ohs.org.uk/[lastaccessed:29/04/12].
[102]
HistoryandFilm
[103]
StavrosAlifragkis&GeorgePapakonstantinou
various state agencies and bodies and other cultural institutions, such as
the General State Archives, the Konstantinos G. Karamanlis Foundation,
the Melina Mercouri Foundation, the Michael Cacoyannis Foundation14
and the Greek National Tourism Organisation (GNTO),15 maintain more
specialised collections of moving image resources. In June 2011,
Archiotaxio, the journal of the Contemporary Social History Archives
(ASKI),16publishedanissueonthethemeofcinemaandhistory.Theissue
showcased suggestive research conducted with audiovisual archival
materialinGreecetoday.Thequalityandtherangeofthepresentedwork
marks a growing interest in exploring the historical value of the moving
image archive. Moreover, ASKI hosts a significant collection of oral
testimoniesaspartoftheireverexpandingaudiovisualarchives.
AspartofourresearchatLECAD,wearecurrentlyreviewingrelevant
literature on locating, digitising, storing, annotating with metadata and
recyclingaudioandmovingimageresourcesfortheusewiththegeneral
public and researchers with a special interest in the representation of
architecture and the city via the moving image. In doing so, the project
also aims to map the network of relevant private and public audiovisual
archives and collections in Greece and revitalise existing or open new
channels of communication between the various institutions involved in
thesafeguardingofthecountrysaudiovisualheritage.Itisnotexpectedto
diverge significantly from current, established international practices and
normsasfarasobtaining,documenting,digitisingandstoringmultimedia
filesareconcerned.Nonetheless,determiningwhichmovingimageassets
mightberelevanttothetaskathanddescribesapotentandoriginalarea
of research that requires further clarification and documentation. Yet
another point of departure from the relevant literature on managing
archives is the projects proposed endproduct. The Department of
ArchitectureattheUniversityofThessalyintendstosetup,populateand
maintain an online database comprising multimedia assets on the Greek
cityanditsarchitecture.Aprojectspecific,userfriendlygraphicinterface
will enable the remote interactor to discover different ways of exploring
the database and generate multiple narrations across the multimedia
14
GeneralStateArchives:
http://www.gak.gr/frontoffice/portal.asp?cpage=NODE&cnode=1&clang=1; Konstantinos
G. Karamanlis Foundation: http://www.karamanlisfoundation.gr/; Melina Mercouri
Foundation:
http://www.melinamercourifoundation.org.gr/;
Michael
Cacoyannis
Foundation:http://www.mcf.gr/en/[lastaccessed:01/05/12].
15
ThestudyofGNTOsarchiveoftouristdocumentarieshasbeenoneofthesubjectsofthe
ongoing research project entitled Postwar Modernism conducted by the School of
Architecture, National Technical University of Athens, under the supervision of Professor
PanayotisTournikiotis(Alifragkis2011).
16
ContemporarySocialHistoryArchives:
http://askiweb.eu/index.php?lang=en&Itemid=513[lastaccessed:01/05/12].
[104]
HistoryandFilm
DatabaseNarrative
Eco argues that a list is much more than a compilation of items bound
together by certain attributes, shared in common under the pretext of a
mutual denominator. The list is a powerful art form with immense
storytellingpotentiality(Eco2009:217221).Britishfilmdirectoranddigital
media artist Peter Greenaway has been experimenting with the list as a
storytelling mechanism ever since his first featurelength movie entitled
TheFalls(UK,1980).Greenawayuseslinearnarrativesasasteppingstone
for his multifocal cinematic narrations, which transcend the expressive
confinesoffilmandspillovertoneighbouringartisticfieldssuchasopera,
art exhibitions, happenings and artbooks (Greenaway 1998). His moving
image experiments illustrate what Manovich terms two competing
imaginations in new media cultures: database and narrative (Manovich
2001:233).Manovichsuggeststhatsequential,causeandeffect,singleor
multiple storyline trajectories (narrative threads) and unstructured, non
hierarchical collections of items (databases) take on different statuses as
farascontemporarycomputercultureisconcerned.Naturally,heprefers
the latter over the former, as database narratives put into effective use
functionalities afforded by current technological advances with computer
softwareandelectronicappliances.
Databasesmayconsistofunstructuredmediafilesi.e.assetsthatdo
not conform to strict hierarchical structures but the navigation of the
database relies heavily on complex sets of predefined rules described by
the author and manipulated to a certain extent by the potential user.
Manovich, commenting on his multimedia interactive production entitled
SoftCinema,notesthat:
[t]heDVDwasdesignedandprogrammedsothatthereisnosingleversionofanyof
thefilms.Alltheelementsincludingscreenlayout,thevisualsandtheircombination,
themusic,thenarrative,andthelengtharesubjecttochangeeverytimethefilmis
viewed.(Manovichetal.20023)
[105]
StavrosAlifragkis&GeorgePapakonstantinou
17
SeeforexampleSfikasMetropolisesorShubsTheFalloftheRomanovDynasty.
[106]
HistoryandFilm
ConcludingRemarks
Evidently,thefinaldeliverableofthisprojectwillbeauserfriendly,web
basedplatform,wherepotentialusersbothresearchersandthegeneral
publicwillbeabletolocate,configureontheflyandpreviewasuccession
of shots that have been sourced from different narratological contexts
(documentaries,fictionfilms,newsreels,familyvideos).Theirorderingwill
bedictatedbyuserdefined,projectspecificspatialcategories.Ideally,the
platformwouldserveasaplacewherepeoplecanuploadamateurfilmsor
homevideosandcontributetotheloggingofbasicdescriptivemetadata.
The technology for something like this already exists. In 2007, the
American electronic media artist Perry Bard initiated a participatory
reworkingofVertovsTheManwiththeMovieCamera(USSR,1929)over
the internet. She developed a webbased application where individual
userscan:
[i]nterpretVertovandupload[]footageto[the]sitetobecomepart
of the database. [They] can contribute an entire scene or a shot or
multiple shots from different scenes. [] Every day a new version of
thefilmiscompiledfromshotsuploadedtothesite.18
Bards project is particularly relevant to our research as it manages to
successfullycombinetheanalysisandinterpretationofanexistingmoving
imageworkontheonehandandinnovativeandartisticexperimentation
withvisualcommunicationontheotherhand.Similarly,LECADsproposed
webbasedapplicationwillenablethepotentialusertorevisitandreassess
thecitysrecentpastviathecreativereconfigurationitsimageonfilm.The
process described here allows the users to become part of the citys
history by contributing to the multiple urban narrations with their own
content. Hopefully, our pilot, proofofconcept prototype will stimulate
andprompttheusertoimaginepotentialfuturesfortheGreekcity.
18
[107]
Participatory
Global
Remake:
StavrosAlifragkis&GeorgePapakonstantinou
Bibliography
Alifragkis,Stavros&Penz,Franois,2006.SpatialDialectics:Montageand
Spatially: Organised Narrative in Stories without Human Leads,
DigitalCreativity17/4:221233.
Alifragkis, Stavros & Penz, Franois. 2011. Fragmented Utopias
Architecture, Literature and the Cinematic Image of the Ideal
Socialist City of the Future: Dziga Vertovs Man with a Movie
Camera. In Jonathan Harris & Richard J. Williams (eds),
Regenerating Culture and Society: Architecture, Art and Urban
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LiverpoolUniversityPress&TateLiverpool,117141.
Alifragkis, Stavros, Penz, Franois & Williams, Doug. 2006. D3.4, Part 2,
Production report: Cambridge City Symphony [project report].
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Alifragkis, Stavros. 2010. City Symphonies Restructuring the Urban
Landscape: Dziga Vertovs Man with the Movie Camera and the
City of the Future [Unpublished PhD Thesis]. Cambridge:
DepartmentofArchitecture,UniversityofCambridge.
Alifragkis,Stavros.2011.BrandingtheWhiteCity:TouristicFilmsandthe
PortrayalofModernAthensinthe1950sand1960s,Tourbanism:
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[electronic publication, ISBN: 9788481576207]. Barcelona,
Spain:InternationalForumonUrbanism(IFoU).
Angelopoulos, Theo. 2006. Synthesis in Cinema [interview with Stavros
Alifragkis],Scroope:CambridgeArchitectureJournal18:5665.
Barnes, Julian. 2011. [The Sense of an Ending]. :
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Burgoyne, Robert. 2008. The Hollywood Historical Film. Malden, MA;
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de Baecque, Antoine & Delage, Christian (eds). 1998. De lHistoire au
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deBaecque,Antoine.2008.HistoireetCinma.Paris:CahiersduCinma.
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of Contemplation. Princeton, New Jersey: Princeton University
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Jameson, Frederic. 1997. Theo Angelopoulos: the Past as History, the
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Films of Theo Angelopoulos, Westport, Connecticut: Greenwood
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FilmQuarterly55/4:215.
Konstantopoulou, Photini (ed). 2000. Cinematographic Archive. :
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Lynch, Kevin. 1960. The Image of the City. Cambridge, Massachusetts:
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Manovich, Lev et al. 20022003. Soft Cinema: Navigating the Database
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Manovich, Lev. 2001. The Language of New Media. Cambridge,
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Roth,Philip.2007.ExitGhost.London:VintageBooks.
Sexton,David.2011.TheRevisedVersion,TheSpectator23July2011.
Tomai, Photini (ed). 2011. Documentary History of Greece: 19431951,
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Toplin, Robert Brent. 2002. Reel History: In Defense of Hollywood.
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Tschumi,Bernard.1994.EventCities.Cambridge,Massachusetts;London:
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Vertov,Dziga.1984.KinoEye:TheWritingsofDzigaVertov.Berkeleyand
LosAngeles:UniversityofCaliforniaPress.
Virilio, Paul. 1984. Guerre et Cinma I: Logistique de la Perception. Paris:
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Filmography
Angelopoulos,Theo.1970.Reconstruction(Greece,110,b&w)
Greenaway,Peter.1980.TheFalls(UK,195,colour)
Mills,Mike.2010.Beginners(USA,105,colour)
Sfikas, Kostas [ ]. 1975. Metropolises []
(Greece,b&w)
Shub,Esfir.1927.TheFalloftheRomanovDynasty(USSR,90,b&w)
Vertov,Dziga.1929.TheManwiththeMovieCamera(USSR,68,b&w)
[110]
Trails/narrativeandthetrailsofnarrative
DafniTragaki1&GeorgePapakonstantinou2
/
(sound/videowalk) ,
.
()
.
,,,
.
,
.
,
/
.
Univ.ofThessaly,Dept.History,ArchaeologyandSocialAnthropology.
Univ.ofThessaly,Dept.ofArchitecture.
3
ThisresearchhasbeencofinancedbytheEuropeanUnion(EuropeanSocialFundESF)
and Greek national funds through the Operational Program "Education and Lifelong
Learning" of the National Strategic Reference Framework (NSRF) Research Funding
Program:Thales.InvestinginknowledgesocietythroughtheEuropeanSocialFund.
2
[111]
DafniTragaki&GeorgePapakonstantinou
Themainquestionaddressedbysoundethnographersiswhatis
to know the world through sound (Bull and Back 2003: 3). Sound
ethnographyinvitesustounderstandsoundasamodalityofknowingand
being in the world (Feld 2003: 226) looking at sonic phenomena and
eventsasdomainswhereculturalknowledgecanbemade:wherewecan
listen to, for instance, power relations, social positionings, racial, gender,
ethnic, religious identities, as well as understanding sound as a way of
regulatingspaceandtime,ofexploringdesire,surveillance,orprocessesof
individualization,togethernessandbelonging,mediationinthecontextof
contemporarytechnoculture,waysoflifeinthemodernindustrialized,and
postindustrializedenvironments.Inanattempttoenhancetheexperience
of placemaking through sound and the exploration of sonic sensibilities
suggested by the recordings of soundwalks, we decided to complement
thesonicwiththevisual.Althoughthevideowalkisamethodthatalready
incorporates the aural dimension, our concern here is to film the
narrative/placemaking process by taking into consideration the
theoretical questions also addressed by sound ethnographers. In other
words, the filming process places special emphasis on sound not only as
thesoundofthefilm,butasaconstitutivemediumofthefilmedspace.By
filmingthesoundwalkweaimatmediatingamultisensorialembodiedand
affectiverepresentationofurbanlife.
Inthecontextofthepresentprojectsound/videowalkinvolvesthe
filming of an itinerary, a route in the city streets that is designed by an
inhabitantofthecityofVolos.Theparticipantisaskedtothinkofaroute
that is invested with lived experiences and memories of the worlds
defining his everydayness, which the subject narrates while walking
togetherwiththeresearchers.Thus,thelifestoriesemergeinmovement:
what is said is connected with where it is said. During the shared guided
walkthenarrationisperformedasthesubjectismovingthroughthebuilt
urban environment, passing by street corners, shops, houses, schools,
wanderinginthealleys,lookingback,pausingatcrossroadsandempty
spaces that altogether trigger memories of the everydayness now and in
the past, inextricably mixing the bygone times with the present. Spoken
rememberingwithinthesynchronizedprocessofplacemaking/narrating
becomesavehicleofmappingandinscribingtheselfintheurbantextand
texture.Inthecourseofwalking,thesubjectrecallsanddescribessenses
ofplace(suchassounds,smells,images,tastes)whichareinterweavedin
the narration of instances of life episodes and life events, of hidden or
forgotten histories and counterstories (see Richardson 1997).
Altogether, they form ways of understanding the city space as an ever
changing, malleable and fluid narrative. At the same time, the narration
itself becomes a soundscape, a part of the trails acoustic ecology.
Video/soundwalking thus becomes an exercise in imagining (Pink 2007:
[112]
Trails/Narrativeandthetrailsofnarrative
DafniTragaki&GeorgePapakonstantinou
Trails/Narrativeandthetrailsofnarrative
Thesensesthusaremorethanavehicleforexpressionofextrasensory,culturalvalues,
while the body is more than a locus for writing culture. The sensing body narrates its
relationship with the world producing what in cultural geography has been described as
hapticknowledge(Patterson2009:768).
[115]
DafniTragaki&GeorgePapakonstantinou
sentence,sometimeseachword.Everystepisastrideoversomethingnot
said (Berger 1982: 284285). The performativity of narration is
intertwined with the performativity of walking together. Besides, they
bothinvolvetheimaginativedrawingoflines(followingTimIngoldsideas
on the production and significance of lines); the line of the trail and the
lineofthenarrative.Asoverlappingabstractlinearities,theyareproduced
through improvisation, a concept that invites us to explore the complex
praxisofwalking/storytellingasacreativeproject(seeIngoldandHallam
2007). Here, the analogies with the creative process that defines
composition in the context of artistic production are challenging indeed.
Like the practice of musical improvisation, for instance, improvisation in
walking/narrative involves unforeseen deviations (parentheses that may
perhaps disorientate and reorientate), which are often decided in situ,
returnstothesamepoint,thepossibilityofsteppingbackwardsorstriding
towards a more attractive next point, revising the initial planning,
encounteringcrossroadsthatdemandchoices,findingalternativetrailsto
the desired destination and, why not, changing destination. As
performative, relational and temporal creative processes the trail of the
narration and the narration of the trail are therefore unique; they can
neverbethesameagain.
Pilotapplicationofthemethod
Forourfirstexperimentationwiththeapplicationofthemethodwehave
beenintroducedtoYiannisKoutis,a45yearsoldlocalhistorianwhoworks
for the Municipal Centre for Historical Research and Documentation of
Volos. After briefly explaining to Yiannis the kind of approach we were
interestedin,weaskedhimtothinkofanitinerarythatwasabouttobe
filmed.Yiannispromptlyexpressedhiswilltoparticipateandwearranged
a meeting at the starting point, at the intersection of Glavani and
Analipseos streets. He was going to show us his neighbourhood, the so
calledregionofKaragats.Ofcourse,wehavebeenluckytocooperatewith
someoneextremelyeloquentandanalytical,whowaseagertosharewith
us instances of his life there. And, we had the privilege to be guided by
someone knowledgeable of the local historiography. For now, at a
preliminary stage of the research, let us just notice that this property of
Yiannis local history seems to be of particular interest, since his
narration includes scattered references to archival information and
historical sources with which he is well acquainted. In fact, those
references are becoming an inseparable part of the Karagats fiction
authoredbyYiannis.Theyhavebeenintegratedinthelivedexperienceof
hisemplacedstorytelling/placemakingproducingtogetheracontinuous,
smoothflowofnarrative,hisknowledgeoftheplace.
[116]
Trails/Narrativeandthetrailsofnarrative
The name, according to Yiannis, refers to the digging out of soils that were then
transferredtotheVolosharborconstructionplace.
[117]
DafniTragaki&GeorgePapakonstantinou
The bakery had an oven where the neighbourhoods housewives used to send their
cookedfoodforbaking.Thesmellsofthehomecookedfoodusedtospreadinthestreet
(accordingtoYiannis)lettingeveryoneknowwhatwasthemealofthedayforthefamily,or
what was the favourite specialty of the housewife. The baker, a bachelor, often kept a
portion of food for himself instead of being paid in cash; he thus enjoyed a share of the
tasteofthehomemadefood.Momentslikethisillustratethemakingofthesocialbonding
oftheneighbourhoodinthepastprimarilythroughthesensesoftasteandsmellandthe
changingculturalmeaningsoftheprivate/publicspaceinteractionsinthearea.
7
ThevideoexcerptshavebeeneditedbyGeorgeKalaouzis.
8
Theworkshopwasaplaceforsociabilitymainlyforoldmen,whereeveryonepossessed
his own chair. Following the death of a member of the company, the owner used to
suspendhischaironthewall,almostasanactofkeepingmemoryofthehonoreddeceased
(accordingtoYiannis).Itisperhapstemptingtoassumethatthevisibilityofthechairandits
very materiality mediated a sense of the body of its holder (its stature and gestures)
creatinganimpressionofpostmortempresence/absenceintheplace.Thesuspendedchair
maybeunderstoodbothasamemorialagainsthisirreversibledepartureandasareminder
thathehasbeenthere.
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Trails/Narrativeandthetrailsofnarrative
tastes,suchasthesweetpleasureoftheEVOLchocolatemilkandsmellsof
freshlybakedbreadcomingfromthethennumerousbakeriesofthearea.9
Thosearesensesfromthesubjectivepastlivedinthepublicspace,which
arehererepresentedasavitalpartofitsurbantextureandlandscape.All
together, the memories of sounds, voices, smells and tastes invite us to
gain senses of Karagats in the 1970s and 1980s in fact, of Yiannis very
ownfictionofhischildhoodKaragats.
The crew of the pilot application of the method consisted of a
sound engineer, Nikos Vamvakas, the director and cameraman, Giorgos
Papakonstantinouandtheethnomusicologist,DafniTragaki.10Inpurpose,
thefieldrecordingsituationmovedawayfromthesofarappliedmethod
ofthelessormorestructuredethnographicinterview.Here,thenarrator
wasencouragedtoimprovisehistrailandstoriesinsitu,soastocreatehis
own chain of spoken memories allowing his imagination to freely flow in
the course of the shared pathmaking. Yiannis narration was scarcely
interrupted by the researcher (who addressed only a few clarifying
questions or reassuring responses and comments in the form of an open
dialogue). Questions that directed the narration towards specific issues
havethereforebeenavoided.
Thesoundwasrecordedwithalapelmicrophoneconnectedtoa
wireless system and attached to the narrator. The audiovisual recording
wasmadewithahandheldcameraandafieldrecorder.Asaprinciple,the
cameraremainedalwaysfocusedonYiannisandhismovement.Theplane
size varied from a medium close shot, emphasizing gestures and facial
expression,toalongshot,recordingYiannismovementofwalkinginthe
urban tissue, the rhythm of his pace, his communication with neighbors,
etc.Atasecondstage,complementaryplanswillberecorded,alongwith
Yiannis itinerary, focusing on specific places, buildings or vistas that
Yiannisreferredto.
ThefilmprovidedthesourcefordesigningYiannisroutemap.Ata
nextstage,thisroutemap(http://goo.gl/maps/l8SBs)willbecomepartof
aninteractivedigitalmapwherethemuseumvisitorcanaccessuploaded
informationaboutthearea,itshistoryandthenarrator(suchasfilmedand
photographedvistas,soundscapes,historicalsources,oldphotos,archival
material). This map could be continually supplied with new material thus
allowingtheconstantupdatingofthemuseumdisplays.Inthecontextof
thevirtualcitymuseum,theeditedrecordingandtheinteractivemapwill
9
EVOL is the local milk industry founded in 1952 by the Volos Association of Agricultural
Unions(EnosiAgrotikonSynetairismonVolou).
10
The film and the map have been edited and developed by Ifigenia Charatsi at the
Laboratory of Environmental Communication and Audiovisual Documentation (LECAD
EPEOT)oftheDepartmentofArchitectureoftheUniversityofThessalydirectedbyGeorge
Papakonstantinou.
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[120]
Trails/Narrativeandthetrailsofnarrative
References
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Berger, John. 1982. Stories. In John Berger and J. Mohr (eds), Another
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Bull,MichaelandLesBackeds.2003.Introduction:IntoSound.InM.Bull
andLesBack(eds),TheAuditoryCultureReader,Oxford,NY:Berg,
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Casey, Edward 1996. How to Get from Space to Place in a Fairly Short
StretchofTime:PhenomenologicalProlegomena.InS.FeldandK.
Basso (eds), Senses of Place, Santa Fe, New Mexico: School of
AmericanResearchPress,1352.
de Certeau, Michel. 1984. The Practice of Everyday Life. Los Angeles,
California:UniversityofCaliforniaPress.
Dolar, Mladen. 2006. A Voice and Nothing More. Cambridge, MA: MIT
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Feld,StevenandKeithBasso,eds.1996.SensesofPlace.SantaFe:School
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Feld,Steven.2003.ARainforestAcoustemology.InMichaelBullandLes
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239.
Frith,Simon.1981.SoundEffects.Youth,Leisure,andthePoliticsofRock'n'
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Ingold,Tim.2007.Lines.ABriefHistory.London,NY:Routledge.
IngoldTimandJoLeeVergunst,eds.2008.WaysofWalking.Ethnography
andPracticeonFoot.Aldershot:Ashgate.
Ingold Tim and Elizabeth Hallam, eds. 2007. Creativity and Cultural
Improvisation.NY:Berg.
Lefebvre,Henry.1991.TheProductionofSpace.Oxford:Blackwell.
Lund,Katrin.2008.ListentotheSoundofTime.WalkingwithSaintsinan
Andalusian Village. In J. L. Vergunst and T. Ingold (eds) Ways of
Walking. Ethnography and Practice on Foot. Aldershot: Ashgate,
93104.
Patterson, Mark. 2009. Haptic Geographies. Progress in Human
Geography33(6):766788.
Picon, Antoine: 2003. Architecture, Science, Technology and the Virtual
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Pink,Sarah.2007.WalkingwithVideo.VisualStudies22(3):240252.
_________2009.DoingSensoryEthnography.London:Sage.
Richardson, Laurel. 1997. Fields of Play: Constructing an Academic Life.
NewBrunswick,NJ:RutgersUniversityPress.
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[122]
RobPerks1
Thisisaneditedtranscriptofapresentationmadeon27May2012atthe
ConferenceBridginggenerations:interdisciplinarityandlifestoriesinthe
21stcentury.Oralhistoryandlifehistoryapproachesinthesocialsciences.
25
,
, .
,
BBC,
.,
,
.
.
ThankyouforinvitingmetoVolos.Itisagreatprivilegetobehere.Ihave
agreataffectionforGreece,Icomeherealotanditisanaddedbenefitfor
metocomeforworkaswellasforpleasure.Ithinkthisisaveryimportant
momentforGreekoralhistoryandIamverypleasedtobepartofit.
I am going to talk about the work I do at the British Library (BL).
Over the last twentyfive years we have created one of the largest oral
historycollectionsintheworld,inthecourseofwhichwehavefacedlots
ofproblemsandchallengeswhichIwanttosharewithyou.Ialsowantto
share with you some recommendations, perhaps to apply to your own
work,whichhascomeoutoftheworkwehavedoneattheBL. I do not
1
LeadCuratorofOralHistoryandDirectorofNationalLifeStories,BritishLibrary,London
[123]
RobPerks
know how many of you know the British Library, which is the national
librarybasedincentralLondon.Itwasopenedaboutfifteenyearsagoand
tookthirtyyearstobuild.WehaveintheBLmanymanydifferentkindsof
material.Itisavastcollection:some150millionitemswhichgrowatarate
of 12 km of shelf space every year. Within this huge collection, sound
representsoverthreemillionitems.Andwithinthatoralhistoryisasmall
proportion,perhaps34,000interviews.Thevastmajorityismusic,theatre,
andwildliferecordings.
I am responsible for oral history, but also for historic sound
recordingswhichmayormaynotbeconsideredoralhistory.Theoldest
recordingswehavearefromthe1890s.ThomasEdisoninventedrecorded
sound in 1877, but the oldest spoken word we have are only from the
1890sincludingFlorenceNightingale,thefamousCrimeanWarnurse,and
somepoliticalfigures.Veryfewvoicerecordingshavesurvivedfrombefore
WorldWarOne.Fromearlywaxcylinderrecordersasameansofcapturing
sound we moved to directcut instantaneous disc recorders of the kind
that were used by anthropologists and oral historians in the interwar
period, particularly in America. Early 'oral historians' in America in the
1930s working under the New Deal WPA projects recording native
Americansandformerslaveswereusingthesediscstomakeoriginaloral
historyrecordings.Theyareveryfragilenow,andfragmentsarebeginning
todisappearfromthediscs.Theyrequirelotsofconservation.
By the time I started doing oral history in the late 1970s, early
1980s, I was using a Uher openreel machine and many oral historians
used them. They were heavy and unwieldy to use but very good quality
machines, and the recordings are still very reliable. But very quickly, for
reasons of lightness, cheapness and portability, we were moving in the
1980s to audio cassettes. A small number of oral historians still use
cassettestoday,althoughitisnowanobsoleteformat.Nowadaysweuse
digital'solidstate'recordersalthoughthathascreatedadditionalproblems
Ill come back later on. () So within those three million items I
mentionedwehaveverydifferentformats.Andtherehaveprobablybeen
another 20 or 30 ways and formats of making audio recordings which I
haven'tmentioned,allofwhichrequiredifferentmachineryanddifferent
conservationtechniques.
ThehistoryoforalhistoryattheBritishLibrary
Lookingcriticallyatdifferentmodesofcollecting,archivingandpresenting
oralhistoryattheBritishLibrary
historymovement,particularlythemovementinBritain.Thefirstofthese
is George Ewart Evans. He's not wellknown outside Britain but he was a
folklorist.IfPaulThompsonisregardedasthe'father'oforalhistory,Evans
is thought of as the 'grandfather'. He was doing oral history before Paul
Thompson discovered oral history in the 1970s. George started in the
1950s, interviewing agricultural workers in a small village in East Anglia,
oftenhisownneighbours.Hewasusingoneofthoseopenreelrecorders
that I mentioned and we have his recordings in our collection. He was
virtually the only person that was making what we would now call 'oral
history' recordings at that time. And the first book he produced, Ask the
Fellows that Cut the Hay, is probably still one of the important books of
earlyoralhistoryinBritain.
EvanswasaninfluenceonPaulThompsonwhen,inthelate1960s
early1970s,hewroteTheEdwardiansandTheVoiceofthePast,thatyou
will know, that were based on his oral history research project called
'FamilyLifeandWorkExperiencebefore1918'.Wehavethose500orso
recordings in the BL collection. And it is also interesting to note that the
OralHistorySociety,ofwhichPaulwasafounder,wasactuallyfoundedat
the British Institute of Recorded Sound, which later became the British
LibrarySoundArchive.SotherelationshipbetweenBLoralhistoryandthe
OralHistorySocietyandOralHistoryJournalhasalwaysbeenveryclose.
Frommodestoriginstherewerehugechangeswithinoralhistory,
particularly in the 1970s and 1980s. Under the Thatcher Conservative
governmentalargenumberoftemporaryworkschemesweresetupbyan
organisation called Manpower Services Commission (MSC) to give
unemployedpeoplejobs.Lotsoforalhistoriansofmygenerationbeganon
those early projects in the 1980s. I ran community history projects in
Yorkshire,lookingattextileworkersandethnicminoritygroupscomingto
BradfordinWestYorkshire.ThatswhereIlearnedmyoralhistorybeforeI
joinedtheBLasitsfirstoralhistorycuratorin1988.The1980swasatime
of huge expansion in oral history activity, particularly in community
groups,inmuseums,inlibrariesandarchives.Andshortlyafterthatinthe
1990s the government launched the first national lottery scheme in
Britain.Alltheproceedsfromthelotterygotosportandcultureandthats
meantthatmillionsofpoundshavebeengiventooralhistory.Wevehad
to really lobby government and the Heritage Lottery Fund (HLF) but
something like 82 million pounds have been given to oral history since
1997(April2012figures)whichhashadanamazingimpact.
[125]
RobPerks
CollectingoralhistoryattheBritishLibrary
We have 370 oral history collections at the BL and they grow every day.
They range from a single tape to the largest collection which is 5,500
interviews just in one collection, the Millennium Memory Bank project,
which we partnered with BBC Radio for the year 2000. In total we have
34,000interviewsinthecollectionandweareaddingabout100150hours
ofrecordingseverymonthfromvariousfieldworkers.Noneofthiswould
be really worthwhile if it were not for the people that actually use the
material:about43,000userseverymonthonsiteandonline.Thatsavery
largenumber.AndinBritainitisreallycriticalnowtoshowtheuseofyour
archivedmaterialanditsimpact.Itisnotgoodenoughonlytocollectand
to archive, you have to demonstrate use. And of course these sort of
figures are very useful in encouraging more funding for oral history.
Gradually we are also putting more interviews online. At the moment
therearenearly2,000interviewsonline.Itsstillasmallpercentageofthe
whole, but it is growing all the time. The digitisation of the cassettes is
obviouslyoneofthelargestchallengeswehave.
So how do we collect? Well, we review what were doing all the
time.Obviously,asanationalcollection,wehaveanationalbrief.Wehave
tomakesurethatwecovernationallifeinBritain,sowelookforthegaps
and then we try and create projects that fill the gaps of historical life in
Britain.Andthenwecollectinthreeways:
Depositspeoplegiveusthings,theycometotheBLandsayIve
gottheseinterviews,doyouwantthem?Notalways,sometimeswedo.
Partnershipsaveryimportantwayinwhichweveworkedwith
externalorganisationsuniversities,communitygroups,tocreatematerial
tocomeintothecollection.
Firstofall,theyhavetobeofnationalimportance.Ifpeopleoffer
uslocalmaterial,thentherearelocalarchives,museums,libraries,where
thismaterialcango.HoweverwehavehadbigspendingcutsintheUKand
manylocalarchivesarebeingthreatenedwithclosureorarereducingtheir
services.Thatsquiteachallenge.
Weobviouslyalsowanttoarchiveitemsthatwecanhear.Youd
besurprisedhowmanyoralhistoriansmakerecordingsthatarenotvery
easytohearorunderstand!Sowearelookingforgoodqualityrecordings.
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Lookingcriticallyatdifferentmodesofcollecting,archivingandpresenting
oralhistoryattheBritishLibrary
RobPerks
convertedintoourcatalogue,withverylittleextrawork.HavingthisExcel
data sheet standard creates a way in which many different communities
can capture data in the same way, which then does not have to be
rekeyed.Thishasprovedtobeaverysuccessfulwayofoperating.Weget
goodqualitymaterialintothecollection,andfortheprojectitgivesthem
what they need, the tools for documentation. And then we work with
themontraining,andfollowuptrainingandfeedback.
Wevealso workedinthisway with disabled groups. Weve been
involved in a whole series partnership projects on disability. The main
reason for this is when I audited the BL oral history collections ten years
ago,therewasverylittleondisabledpeoplesexperiences.Ithinkthatis
typical of many traditional historical archives. So we deliberately had a
campaignofworkingwithdifferentdisabilityorganisationstogathervoices
fromdisabledpeople.Andwevenowrecentlylaunchedawebsitewhere
these many different voices can be heard, for example from people with
mental health problems and from people with cerebral palsy, which is a
disability that affects people in many different ways. In the case of the
cerebral palsy project there was also a teachers' pack for use in the
classroom,drawnfromtheinterviewsandaimingtochallengestereotypes
aboutdisability.
Most recently weve been working with a group of people who
sufferfromhearingloss.Notpeoplewhowereborndeaf,butpeoplewho
had acquired hearing loss. Some can get a cochlear implant which is an
electronicwayofrestoringsomehearing.Forthisprojectweworkedwith
someonewhotypedupwhatthepeopleweresayingontotwoscreens,so
that two people who are both deaf, can actually interview each other
through the screen. This worked incredibly well, and it also gave us a
transcript. Obviously the typist had to take a regular break, every fifteen
minutes, because it is incredibly intense and requires a lot of
concentration.Butitwasaveryinterestingwayofworking,aninnovative
way of using technology, so that two people without hearing can
communicateandcreateanoralhistory.Isitoralhistory?Theycanthear
it,butwecanreadit,itsaveryinterestingconceptof'aural'.
Another way in which we have worked with external partners is
through academic projects. For example Joanna Bornat from the Open
University deposited a project about medical geriatricians. And with the
University of Brighton we collaborated on a project on haemophilia and
HIV;withSheffieldUniversity, a number of projects related to food; with
WimbledonCollegeofArt,theatredesign.
Letmemovenowtowhatmostofyouwouldconsiderkeytowhat
youaredoing,gatheringmaterialyourselves:fieldworkprojects.Someof
these projects we carry out with funding from the BL as part of a
collectionsacquisitionsfund.Oneexampleistheoralhistoryprojectwith
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Lookingcriticallyatdifferentmodesofcollecting,archivingandpresenting
oralhistoryattheBritishLibrary
British athletes which we started fifteen years ago and which we have
recently made available online in time for the London 2012 Olympics.
There'salsoaprojectaboutthestaffwhoworkattheBL.Andotherswith
photographersandhorticulturalists.Butthemainwayinwhichwegather
oralhistoryisthroughNationalLifeStories,aseparatecharity,whichsits
within the BL, with its own board of directors, as a means of raising
additional funds for BL oral history. At the moment we are raising about
200,000 every year for oral history through National Life Stories. It has
beenabrilliantwayofengagingwithbusiness,withdonors,withdifferent
heritage organizations to bring additional funding for oral history
fieldwork.
Weinterviewbothinpeople'sownhomesandinastudiowehave
at the BL. We are also now doing some video interviewing. We still use
audioforthelonglifestories.Mostoftheseinterviewswillbe1215hours
in length and then we supplement them in some cases with video
interviews,quiteshortandnormallyonlocationorataparticularplaceor
with a particular object which is significant. We find this is a much more
efficient way of working and it is much cheaper than using only video.
Oftenwhenyouhaveaninterview,youdontneedtoseesomeoneshead
andshouldersfor15hours.Sowedoasupplementaryinterviewonvideo
withsomethingwhichisvisual.Ithasworkedreallywell.
Using the long life story methodology we have completed many
projectsoverthelasttwentyyears.Andeachoftheseprojectshasvaried
in length, some hundreds of interviews, some fifteen. We have tried to
focusonkeyindustriessuchassteel,oilandgas.ImentionedtheJewish
community. One of the earliest projects interviewed pioneering women:
the first woman judge, significant women journalists, medical pioneers.
We are looking for a very broad array of different voices including elites.
WeconcludedaprojectontheCityofLondonasacentreoffinanceand
bankingsomeyearsago,beforeallthebigchangesofthelastfewyears,so
IthinkwenowneedtogobacktotheCityandaddsomemorequestions
aboutwhatwentwrong.
WehavealsoovertheyearscoveredBritishfashion,thePostOffice,and
the food sector including a corporate oral history of Tesco supermarket,
which at one time was responsible for 1 in every 7 pounds spent in
Britaininthehighstreet.ThisresultedinaCDofextractsfrominterviews,
andabookisabouttobepublished.
AmongstourcurrentprojectsisAnOralHistoryofBritishScience
whichhastwofulltimeinterviewers,anadminassistantandanacademic
advisor from Leicester University, with 500,000 pounds of funding from
theArcadiaFundforthreeyears.Wevealsojustfinishedanoralhistoryof
Barings Bank, an ancient merchant bank which youll all remember
collapsedduetotheactivitiesofaroguetraderNickLeeson.Wevedonea
[129]
RobPerks
very interesting oral history of that particular bank but many of the
recordingswillbeembargoedforsomeyearsyet.Andwevebeingdoinga
lotofworkontheutilities.Havingcompletedanoralhistoryofthewater
industry, supported by some of the privatised companies, weve just
launched an electricity project that has been funded privately by one
particular person, who has donated enough money to employ a fulltime
interviewerforthreeyears.Ivealwayshadtheviewthattherearepeople
out there with money who are interested in their own history and if you
can connect with them in a way that works, as an oral historian I feel
comfortablewithusingthatmoneytodocumentawholeindustry.Eachof
theseprojectsisacrosssection,Imnotinterestedinaneliteortopheavy
project,theseareprojectsthatcoverthewholesector.Soforexamplefor
the Barings project we interviewed the butler as well as the senior
management.
Archivingandaccess
Letmenowmoveontoarchivingandtheuseofthematerial.AttheBLwe
keep all our borndigital and digitised oral history recordings in a Digital
LibrarySystem(DLS)inLondon,andthisisinturnbackedupandmirrored
oncomputersystemsindifferentpartsofBritain.Soalltheinterviewsare
also held in Yorkshire, Scotland and Wales. We have agreements to
shadow all the data. It has to be very safe, selfduplicating and self
checking. From your own points of view, on a smaller scale, this is what
youhavetodowithyourdata.Youhavetomakesurethatyoubackupon
different drives and keep those drives in different places. Nowadays it is
verycheaptodothis.Aoneterrabytedriveisincrediblycheap.Soforallof
you creating oral history material a) it is important to follow good
standards(forexamplebyrecordingwavfilesat16bit/44.1kHz)butb)itis
importanttobackitupandputitindifferentplaces.
What we do when we collect the material is to describe it in a
catalogue,thisisthesoundarchiveandmovingimagecatalogueandyou
can access this catalogue from anywhere in the world
(www.cadensa.bl.uk).Itincludesinformationabouttherecording,thedate
of the recording, the equipment that has been used, but also there is a
content summary as well. Each of the words in that summary is
searchable, so that researchers can find the details of the content within
thecatalogue.Sothoseofyouwhowanttogiveaccesstoyourrecordings
youneedtocollectdataregardingthoserecordings:notjustthecontent,
butwhodidtherecording,whenandwhere,howcanitbefound.Andthe
only way in which people can access oral history recordings is through
somesortofdescriptivedata.Itisverydifficulttolistento,say,tenhours
hopingyoufindsomething,youneedsomedataconnectedwiththem.
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Lookingcriticallyatdifferentmodesofcollecting,archivingandpresenting
oralhistoryattheBritishLibrary
Weprovidethisserviceonsite,sopeoplecancometotheBLand
if material is not in digital format we then digitize it on demand. People
come in and they have a playlist on a computer and they can listen with
headphonesinoneofthereadingroomsbutincreasinglyweareproviding
accessonline.Atwww.sounds.bl.ukwearenowprovidingonlineaccessto
the oral history recordings in full. There are already various packages
availableincludingAnOralHistoryofBritishScience.Interviewsarebeing
put online as soon as we get permission from the people we are
interviewing.Noteveryonewantstheirvoicegoingontheweb.Itdepends
ontheproject.Somepeoplefeelthattheirinterviewsareveryconfidential
andtheyclosetherecordingforaperiodoftime,maybetenyears,maybe
twentyyears.Andofcoursethatisfinewithme,Iamnotworried,asan
archivistIamcollectingthingsforthefutureaswellasfornow.Obviously
someresearchersneedtousetheirdataimmediately,butforarchivesitis
perhaps less important. So it is quite common that people request an
embargoorclosedperiodfortheirmaterial.
Apartfromarchivingandprovidingaccesstothewholeinterview,
we have also been creating interpreted websites: selecting, editing and
showcasingparticularcollectionsforparticularaudiences.Thesepackages
areallontheBL'slearningpagesatwww.bl.ukandexamplesinclude'Food
Stories' and 'Voices of the Holocaust'. Each has oral history clips,
information on the interview and information for students to use. They
have a combination of various resources, information, transcripts,
questionsforstudentstouseintheclassroom.
We have also been creating publications, CDs and information
packs. CDs are a fantastic way of getting things out into the community
andsharingcontentwithinterviewees.SomeexamplesincludePassionate
Rationalism, about a modernist architect called Erno Goldfinger; one on
the Royal Mail the postal service which was used by the company as
partofchangemanagementtraining.Andmostrecentlywehavecompiled
doubleCDsonauthorsspeakingabouthowtheywrite,andartiststalking
aboutdrawing.Thissecondonehasgoneouttoartstudentsrightacross
the country. From very long interviews with artists, all we have done is
extract little bits of the interview where they are talking about drawing.
And these are then presented in a way accessible to particular students
whothemselvesarelearninghowtodraw.Indifferentcontexts.
[131]
RobPerks
Someconclusions
Ivetriedtoidentifyfrommyexperienceoverthelasttwentyyearswhat
the key challenges have been and how we have responded to those
challenges. The first challenge remains the technological challenge. The
biggestproblemwehaveisthatmaterialcomingintothecollectionisnot
goodqualityorisonanolderaudioformatorisnotaccessibleinvarious
ways. So these are my recommendations, especially to those of you who
arestartingoutinoralhistory.
Firstly,decideatthebeginningoftheprojectwhetherornotyou
aregoingtopreservetheaudio.Ifyoudo,itneedstobeofgoodquality
and it needs to be in a format that is forwardcompatible, that is not
proprietary. The problem, for example, with many Dictaphone machines
(like the Olympus) is that they are poor quality and use a proprietary
format that will disappear quite quickly. So you need to use an
internationalstandardsuchasPCMwavfileatnotlessthan16bit/44.1kHz
quality.ThisiseffectivelyCDquality.Itdoesnotneedtobeexpensive,but
it is an international standard which has, as much as we can tell, a
guaranteedfuture.Anditcanbeconvertedintodifferentformatsandisa
goodaudiostandard.AsIsaid,backupyourdataontodifferentdrives,and
then have very clear procedures for labelling and naming the particular
datafiles.Allthisisgoodpracticenowfororalhistorians.IntheolddaysI
wouldwriteanumberonthecassetteanditwouldgoonashelfandthat
was it. Nowadays you have to think more carefully about managing the
data.
Secondly the context. The context is very important and it is
something oral historians need to think more about. Lots of collections
cometomeandthereisnoinformationaboutwhothepersonisthatdid
therecordings,whoistheresearcher.Ithinkeveryprojectshouldhavean
interview at the end with the researcher that collected the data so that
historians and users of the future understand the researcher, what were
the research questions, what were the problems during the project, how
didtheprojectchange.Inotherwords,researchersofthefutureneedto
understandthecontextfortheresearch.Sokeepyournotes,keepallthe
questions around the interviews and archive that with the interviews
themselves. And of course you need to describe the content of the
recordings,ifyoucantdotranscriptsandtheyareveryexpensiveyou
need to do content summaries, so that people can quickly do a content
searchandfindoutwhatisthere,preferablythroughanonlinecatalogue.
Thirdly,legalchallenges.MyguessisthatGreeceisasignatoryto
the European Copyright Convention, which means that the copyright
situation is very similar to the one in the UK. So it means that for every
recording you do, you need to have some sort of document which
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Lookingcriticallyatdifferentmodesofcollecting,archivingandpresenting
oralhistoryattheBritishLibrary
indicates who owns the copyright in the recording and gives you
permissionastheresearchertousethematerialinpublicationsandonthe
web. And this is both an ethical and a legal question. And it is very
important that you have a form that people understand and sign
determiningthewayinwhichthematerialwillbeusedinthefuture.And
of course, I guess youll know there is a different culture between
historians and sociologists when it comes to anonymising data. As a
historian I am rather opposed to it and I will only anonymise data if the
intervieweerequestsit.Ithinkitiswrongthatthereisadefaultposition
thatyoushouldalwaysanonymise.Particularly,aspeoplecancometothe
BLandlistentothevoiceoftheperson,iftheyknowthepersontheywill
identifyhimevenifthedatahavebeenanonymised.Sothereisanissue
here. And of course as historians in the future we want to compare oral
historywithotherhistoricalresources,suchascensusdataandhistorical
papers. So we need to know the name of the speakers in most cases. I
thinkitisquiteimportantnottoanonymiseifyoucanavoidit,exceptat
therequestoftheinterviewee.
Thefinalchallengerelatestoethicalissues.Ivealreadymentioned
thatasanarchivistyoucollectthingsthatyoufeelunhappyabout,youfeel
theymightbedifficultpolitically,butIthinkthatitismyroleasanarchivist
to make sure that I represent the breadth of society. Whatever my own
views I think it is important to have a comprehensive collection and a
comprehensivewayofworkingthatrepresentsallthoseviews,sothatwe
understand change within our society. And there are also occasions in
whichyoucollectmaterialwhichpeoplefinddifficulttolistentoforother
reasons. An example might be interviews with prostitutes, with sex
workers.Alotofpeoplefindtheseverydifficulttolistento:theyinvolve
violence, drug use, abuse. But this is what I think we are best at as oral
historians. I think we are brilliant at collecting voices which otherwise
wouldnotbecollected,whichwouldbemarginalised.Andthisisstillthe
thingthatdrivesmeasanoralhistorian.Ithinkwearefantasticallyplaced
to do things which other historians cant do. But equally we have to be
cautious.Wehavetomakesurethatthematerialwecollectisnotgoingto
leadtolegalaction.Andtherearesomeinterviewsthatweputuponthe
webwherepeoplehavecontactedusandthreatenedlegalactionbecause
ofthewayinwhichtheyhavebeendescribedintheinterview.SoIthink
we have to be sensitive to controversial material, we have to assess the
risks,totalktothepeopleinvolved.Andwehavetobereadytotakedown
online material. So we have a takedown policy: someone complains, we
review the complaint, we remove it from the website. These procedures
needtobeinplace.
.Thankyouverymuchforlistening
[133]
[134]
III
Seva: , ,
Abstract
MusicisSeva:tradition,improvisation,collectivememoryandtheroleof
theresearcherinthefield
The following discussion presents an anthropological approach on
issuesofcultureandmusicconcerningtheSikhcommunityinTavros.In
particular, the concept of Seva is revealed through fieldwork as a
crucial idea which affects the communitys musical performance.
Moreover, I examine the importance of interview as a
methodological approach on the concept of Seva. In this matter, I
arguethatinterview,asseva,providesauniquespace,uponwhich
orality, both in verbal and sonic terms, operates as a medium
through which the past is regenerated into the present. Meanwhile,
this dialogue between text and context reveals the importance of
individualnarrativesandtheircontributiontotheformationofasense
ofcommunity.
,
.
. ,
/,.
[137]
,
.
,
. ,
,
, ,
,.
,
:
.2
.
,
,
(Sullivan1997:910).
.
,
,
(Rouget1985).
(Bohlman 1997:6190). Guy L.Beck
(Beck
2006).
Sikh.
2
H(
)
():
.
[138]
Seva
Beck
.
,
.
;o
.3
,
. ,
Sikh
,
,
, ,
.
Sikh
,
.
,
,(
. , , ).
,
,,.
,
Sikh
Gurudwara, Sikh, .
Seva
.
,
.
,
, .
.
,
.
[139]
,,seva.
4Sikh:
Seva,
, ,
Seva ,
seva.5
, seva
. ,
,
seva
.
.
Seva,
,
/ ,
,
.
:,
Seva .
,
. ,
,
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.
2001 20096,
(20012009)
.
4
,
,.
5
AjeetSingh,2011,,.
.
6
: European
Migration Network ,
(2009),BaldwinEdwards2004,2007.
[140]
Seva
,
,
. ,
2011
.
.
7Sikh
.
MandirHareKrishnas8,
Sikh(gurdwaras).
,
,Punjab.
,
Sikh. Sikh ,
, .
()
, ,
,
, ,, .
.
.
, ,
Sikh (gurudwara)
.
Sikh
.
gurudwara
(..
7
. ,
.
8
mandir(mandira)
,
. Hare Krishnas (International Society for Krishna
Knowledge)
1965 Bhaktivedanta Swami Prabhupada.
Krishna
(.Bhagavadgita)..
[141]
).
.
.
.
,
,
.
gurudwara,
tabla harmonium,
shabadkirtan.
shabad kirtan
Sikh.
SikhGuruGrandSahib.
500
Guru Nanak (14691539), 10 Sikh
. ,
kirtan
Sikh.
kirtan
.
kirtan
;
kirtan
rg jath. guruduwara
, rg jath
harmoniumtabla.
kirtan
,
.
[142]
Seva
1 O gurudwara , kirtan
tabl .
..
,2010.
, kirtan
ragatala.
,tala
raga.
,
tala.tala
raga.
talakirtan
Sikh.
,raga,
. O raga
tala
.
kirtan,
.ragatala
.
[143]
(
) ,
.
kirtan
Dusenbery(1992:305
402).Sikh10
[144]
Seva
500.,
(urdu, punjabee,
..)
. kirtan ,
, Mircea Eliade9,
. , ,
rasa(),
.,kirtan
Seva.
,Seva.
Seva gurudwara
o ,
. , Seva,
,
.
gurudwaraSeva.:
,
gurudwara
, Seva. ,
SikhSeva.Sikh
,
,
... .
SevakirtanSeva,
;
()seva.
Seva10.
Eliade
(
).
(.. )
(Eliade2002).
10
Ajeet Singh , 2011, ,
..
[145]
seva
,
Sikh.
, .
, ,
(),
,
,.
2seva
kirtan. Gurudwara , 2011.
:.
seva.
seva.
seva.I
kirtan
seva(
)
:
[146]
Seva
,
, ,
, Cayenne ...
... ..
11
,
,
seva ,
.
seva
kirtan. Jagpal
Punjab.
tabla. ,
,
kirtan gurudwara. seva
Sikh
gurudwara,
.seva
:
, , seva...
,,
,seva
gurudwara12
kirtan seva ,
(gurudwara)seva
.
,,
(seva)
.
11
[147]
,
.
. ,
,.
,
.
.
(1999:47),auriceBloch(1998)
,
13.
, Walter Benjamin
o,
, ,
.
(Benjamin1999:6869)
Benjamin,
,
.
,
,
( )
.
.
13
Hobsbawm&Ranger(2004).
[148]
Seva
.
,
seva.
.RandalCollins(2004)
.
Durkheim Goffman
,
(interaction rituals). , ,
. ,
(intellectual rituals),
.
seva
kirtan.
,
,
.
.
(
),
.
, seva
,
.seva
,
.seva
. i
seva. seva,
[149]
seva, seva
o ,
.
,seva,
.
,
seva,
.
.
, .
,
,
[150]
Seva
[151]
[152]
Chepang
DianaRiboli1
Abstract
Betweenthehammerandsickleandthecross.Thecrisisofthepoliticaland
religiousidentityintheoralhistoriesoftheChepangofNepal
In2007NepalwasdeclaredaFederalRepublicundertheleadershipofthe
MaoistCommunistParty.Despitethesecularizationofthestate,religious
freedomisrecognizedandduringthelastfewyearsChristianproselytismis
increasing.Thepaperaimstoprovideananalysisoforalhistoriesofsome
Chepang shamans (pande), related to Christian missionaries predication
on the one hand, and their perceptions of the other. The pande who
became Christians either temporarily or permanently with their stories
express deep doubts and the collective suffering of their group, which
nowadaysfacesunprecedentedconcerns.
(
)
.
,
,
.
,
( ),
,
(
, , .)
.
,
.
,
,,dianariboli@gmail.com.
[153]
DianaRiboli
/
/.
,,,
.
,
(Riboli2008:147,Eliade1978:37).
,
Chepang () (pande),
,
. pande
,
,
.
2007
,
(Lawoti&
Pahari2010).2008,
Visnu,
.
I 30
,
( 50), ,
, ,
.
,
: . 1960, Mahendra
Panchayat,
5
. Panchayat
1990
(
(. 1)
,.
,
( )
[154]
.
. ,
Prachanda(),
Kalai Rokaya,
( )
:
Prachanda ,
,
, . (.
2).
,
.
2012BLITZ,DirghaRajPrasai:
.
. o
Bhattarai
.(.3)
,
,
,,
,
.
.
,
, .
,
20
900.,
80%
.
Chepang ,
[155]
DianaRiboli
,
,
.
1990,
.
Chepang pande .
Chepang,
.
1994(Riboli2008:69).pandeC.B.
,
.C.B.:
,
puja ()
.
2.
.3
4
.
C.B..
.
.
, pande
,
.C.B..
Chepang,
:(akas),
( ) ( patal).T
patal ,
,
.akas,,
Yama raja
(graha)
2
pande.
pande.
4
C.B.(),DianaRiboli(),1994.
3
[156]
(Riboli2008:249277).C.B.
,
,
Chepang.
,
ChepangChepang.
, Chepang
, ,
.
,
2011,
. Chepang
,
, Chepang
,.
,
,
, .
(ChepangNepali).
,Makwanpur,pandeM.B.,
. M.B.
1990,
. ,
.:
pande. ,
,
.
KanchaBaje.()
KanchaBaje.
. ,
:..
. , .
,
,
[157]
DianaRiboli
.
,
.
..
, .
.
16.
(),
5
.mergency6.
7.pandeI.
B.....
.,.
.:
,
. .
mergency, ,
.
, .
.,,
. , .
,
. ,
.,
. pande.
. ,
:,
, .
,.
.8
M.B.
.,
,
:
( )
.M.B.,
.
, Chepang
panchayat.
.
7
pande
.
8
.B.(),DianaRiboli(),2011.
6
[158]
Chepang . ,
Chepang
,
,.
M.B.: Chepang ,
Chepang.
, Chepang
.
,
. ,
. .
(butpret)
.
.9
Chepang ,
.
pande,B.B.:
.
.
. , ,
, ,
.10
, , Chepang pande
,
.
,
Chepang.
, pande
,
(Riboli2004).
,
,
.Chepangpande:
9
.B.(),DianaRiboli(),2011.
.B.(),DianaRiboli(),2011.
10
[159]
DianaRiboli
,11.
M.B.,,
,,
R.
: .
..:
R. . :
.
,
. :
,
.
..
,
.12
pandeChepang,
,
.
, pande
,
.,
Chepang
,
.
PfaffCzarnecka
(2003: 137, ).
,
,
.
, pande
.
,,
11
KrishoraDeviPraja(),DianaRiboli(),1996.
.B.(),DianaRiboli(),2011.
12
[160]
,
Chepang ,
.
,,
87% (CBS 2003)
,
,
Chepang.
,
. Thompson
, ,
(2002:37)
,
.
(2002:53).
Chepang,
(.. Tonkin 1992:26)
.
, ,
()
:
,
,
Namrung13:
...
().14
(Riboli2008:395)
,
(Kleinman,Das&Lock1997:ixxxvii)
,
Chepang
,
(Riboli2011).
pande
13
.
pandeNarcing
.
14
[161]
DianaRiboli
,
,
.
,
. ,
M.B.
.Sipe,
,
(1998:382)
. Chepang
.
,
,
. M. B.
pande R.,
,
,.
,
, pande
, Chepang
.
, .
,.
[162]
1.http://www.biblelivingministries.org/nepal_missions
2.http://www.revleft.com/vb/christiansandmaoists
t118972/index.html?s=b7b276e6f7dc42d64a13e486eb427798&
3.http://www.weeklyblitz.net/2055/suspiciousactivitiesofhumanrightsactivists
[163]
[164]
Oralhistorycrossingnationalboundaries:astudyofbeliefandnonbelief
inthreeEuropeancountries
JoannaBornat1&DanielaKoleva2
,
. ,
.
(, , )
:
.
.
. ,
,
.
OpenUniversity,UK.
UniversityKlimentOhridski,Sofia.
3
Marking Transitions and Meaning across the Life Course: Older Peoples Memories of
Religious and Secular Ceremonies in Eastern and Western Europe, 201011. AHRC/ESRC
ReligionandSocietyProgramme.Awardno:AH/H008845/1.
[165]
JoannaBornat&DanielaKoleva
Comparisoninoralhistory
Despiteoralhistorysinternationalism,expressedthroughdecades
of conferences and meetings, as well as publications in all of which
practitioners and participants have exchanged views on shared themes
drawninthemainfromthelasthundredyearsofEuropeanhistory,there
are very few examples of joint working across national boundaries on
sharedtopics.5
4
Eurobarometer 2005; see Coleman et al, forthcoming, for a more detailed discussion of
theseissues.
5
See for example the archives of Oral History (www.ohs.org.uk) and Oral History Review
(http://ohr.oxfordjournals.org)andtwooralhistoryseriespublishedbyPalgraveMacmillan
[166]
Oralhistorycrossingnationalboundaries
Editedcollections,significantlythoseintheInternationalYearbook
ofOralHistoryandLifeStoriesseries,encouragedthisbroadperspective,
taking in national differences, drawing out themes with studies which
focus on family, migration, totalitarianism and gender (see, for example,
Bertaux & Thompson 1993). However, though they shared much, the
contributors were not working together on a project, nor were they
comparative.Moretypicallytheytendedtoworktowardsthegeneralising
model which Hantrais (1999) identifies, fitting individual national
differencesintohistoricalsweepsandgenerationalmovements.Examples
of a more specific comparative approach include Vilanovas interviews
with illiterate workers in Barcelona, Baltimore and Nazi death camps
(Vilanova 2011) and Van Boeschotens study of wartime massacres in a
GreekandanItalianvillage.(VanBoeschoten2007)evensotheseusedata
collectedfordifferentprojectsatdifferenttimes.RASCwasthusleftwith
very few examples to draw on and indeed the search for examples of
crossnational comparative oral history projects narrows down to only
threeexamplesprevioustoRASC.
Of the three international oral history projects which offer a fit
with what RASC set out to do, two focus on the same topic, the student
movements of 1968. The first, chronologically, is Ronald Frasers 1968 A
StudentGenerationinRevolt(1988).Thisdrewoninterviewscarriedoutin
sixcountries,USA,WestGermany,France,Italy,UKandNorthernIreland
byateamofinterviewerswhocomprisedleadingfiguresintheoralhistory
world (Fraser 1988:6). In his introduction Fraser identifies their point of
departure as a shared view of the internationalism of the 1968 student
movement and that national specificities would take second place
(1988:4). Altogether 230 people were interviewed through a network of
interviewercontacts.
There are a number of obvious differences: for a start, the time
lapsedsincetheeventsof1968lessthantwentyyearsismuchshorter
thanthelifespantheRASCintervieweeswereaskedtorecall,participants
wereunderfiftyinthe1950sandatadifferentlifestagecomparedtothe
75yearoldsinterviewedforourproject.
Sometwentyyearslater,RobertGildeaandcolleaguesreturnedto
the events of 1968 with a similarly international oral history project,
interviewing activists from a hundred groups and networks in fourteen
countries, from Spain to the USSR and from Iceland to Greece (Gildea
and Oxford University Press http://us.macmillan.com/series/PalgraveStudiesinOralHistory.
Accessed19.11.12and
http://ukcatalogue.oup.com/category/academic/series/history/orhis.do#.T8XBgY58vtU.
Accessed
19.11.12
[167]
JoannaBornat&DanielaKoleva
2010:71). They completed 500 life history interviews for a project titled
Around 1968, during 200710 (Gildea, forthoming:3). This approach
enabled a rather different approach to Fraser and his colleagues. Their
projectincludedfourteencountriesbreachingearlierdividesandincluded
EasternEurope,Poland,Czechoslovakia,Hungary,theGermanDemocratic
RepublicandtheSovietUnionaswellasFrancosSpanishdictatorshipand
theGreeceoftheColonels.Inthiswaytheyspreadtheirnetfurtherthan
the epicentre of revolt to a wider geography of action and
interconnections(Gildea,forthcoming:13).
The third example of a crossnational oral history is no less
ambitious, both in terms of scale and historical impact. The International
Forced Labourers Documentation Project led by Alexander Von Plato
completedalmost600interviewsbetween2004and2007intwentyfour
European countries and in Israel, South Africa and the USA. The project
wasfundedbytheGermanFoundationRemembrance,Responsibilityand
Future (Stiftung Erinnerung, Verantwortung und Zukunft) (Thonfeld
2011:33)andfollowedtheFoundationsprogrammeofpaymentstoforced
labourers between 2001 to 2007 which came after a national process of
debate and international negotiation. The interviews were biographical,
drawing on peoples experiences from their earliest childhood memories,
throughtheirexperienceofforcedlabour(VonPlato2008:11).
So far as oral history is concerned, there are various reasons for
thepaucityofcompletedprojects,apartfromtheobviousquestionofcost
andorganisationalcomplexity.Theidentificationofashareablefocuswas
clearly helpful to the three projects described. Without that identified
focus,findinganoperationalmoralandpoliticalperspective,crossnational
comparison maybe problematic. However oral historys defining
characteristic, the recording of voiced memories, could have worked
againsttheveryinternationalismwhichproponentsespouseandforthree
reasons.First,thehistoricaldominanceofEnglishasalinguafrancahasthe
tendency to discourage internationalism given the association of that
languagewithhegemonyandempire.
Thesecondreasonisthatworkingthroughtranslationcanonlybe
averyapproximatewayfororalhistorianstoaccessoriginalmeaningsand
feelings (see for example discussions by Andrews 1995; Burton 2003;
Wheeler 2008) and, though it can reveal unexpected insights, translation
goes against the genres central and defining principles of individual self
expressionandempowerment(Thompson2000;Abrams2010:154161).
English was the lingua franca for the RASC team with translation
fromRomanianandBulgariantakingplaceaftertheinterviewshadtaken
place. Though undoubtedly this gave native English team members an
advantage in some respects, they were relatively disadvantaged in that
nonewasfamiliarwitheitheroftheothertwootherlanguages,incontrast
[168]
Oralhistorycrossingnationalboundaries
with their colleagues from Romania and Bulgaria who all possessed an
excellentstandardofEnglishthoughdidnotspeakeachotherslanguage.
Issues of meaning and understanding are most relevant at the stage of
data analysis and interpretation when working in a crossnational group
andareevidentinthehistorical,linguisticandculturalcomplexitieswhich
occur when memory is used as the way to access the past and this is
perhapsthethirdreasonwhysofewcomparativeprojectshaveemerged
fromoralhistory,despiteacommitmenttoaspiritofinternationalism.If
there are few examples of crossnational oral history projects to consult,
there are even fewer oral historians who have looked at religion and
remembering.6Inthenextsectionweconsiderwhythisisthecasebefore
goingontolookathowRASCsetouttodealwithacomparativestudyof
religionandsecularisminthelivesofthreegroupsofolderEuropeans,in
Bulgaria,RomaniaandtheUK.
Religionasatopicinoralhistory
ForamoredetaileddiscussionofalltheseissuesseeBornat,forthcoming.
[169]
JoannaBornat&DanielaKoleva
Projectobjectivesandmethods
Whileacknowledgingthesignificanceoftheverydifferentpolitical
histories of the three countries we were interested in, we were keen to
[170]
Oralhistorycrossingnationalboundaries
identifychangingreligiousandnonreligiouspracticesinwaysthatwould
enableandencouragecomparison.Thetopicofritualpresenteditselffora
numberofreasons.Ritualisincreasinglyrecognisedtobeascentraltothe
socialphenomenonofreligionasbeliefitself.Indeeditisprimarilythrough
the shared actions, verbal or nonverbal, that persons express religious
beliefs. It is also ritual that marks persons out as belonging to one
particular religion and not another, and it is often through elaborate
initiation rituals that persons join a religious group. Thus rituals point to
thepracticalandcollectiveaspectsofreligion.
JoannaBornat&DanielaKoleva
Beingaskedtotalkabouttheeventsofalifenotonlyencouragespeople
to speak with authority, about what they know best, it also frames what
theytellwithingenerationalandhistoricaltemporalitieswhich,foracross
nationalprojectlikeRASCprovidesavaluablebasisforcomparison.
The interviews, while taking a life history approach, included
questionsaboutsignificantritesofpassage,marriage,baptismanddeath,
in order to draw out reflections and evidence as to the public and social
aspectsofreligiousandsecularpractices.Participantswereencouragedto
reflect on changes they had participated in or witnessed, offering
opportunities for life review and considerations of what contributed to
theirwellbeing.Overall,thefocuswastobeonmeaningmakingandthe
subjectiveperspectiveofeachindividualratherthanfactfinding.
RASC was a small, oneyear project with a target sample of 60
interviews.Halfofthetwentymenandwomentobeincludedfromeach
country were from the dominant churches while the other half would
come from other denominations and from nonbelievers. All were to be
over the age of 75 and in each country there were two be two different
urban sites. The interviews worked to a common semistructured
interview guide, interviewing in the respondents own language, then
transcribing and translating into English. Members of the research group
worked together, facetoface and online, developing case studies and
typologiesandwritingupfindings.
Religiousritualassocialnormativity
[172]
Oralhistorycrossingnationalboundaries
Conformityasvalue
itseemedthenaturalthingtodo.7
WellIthinkitsacommonlaw.9
AnywayIthinkwejustcarriedon.Icantremember.Whenwegotmarriedwehad
a religious ceremony. And when you wanted to get married you had to belong,
you had to join a synagogue. We werent religious, I wouldnt say we were
religious.11
Myfatherwasanatheistbuthelikedtheconventionalthingsdidnthe?12
Conformingwithexpectationsintermsofbehaviourandobservancemight
cropupinrelationtosocialcontext,astheseintervieweessuggest,orthey
might be driven by a need to belong to some notionally prescribed
membershipgroup.Perhapstheonlyintervieweetoexpressawarenessof
herownconformitywasPolly,anEnglishnonbelieverwhoremembered
theimportancetoherofchurchmembershipattheageof12:
Well yes I did actually, no, youve jogged my memory now. When I was about
twelve I think it was, people were getting, some people were getting confirmed
and I didnt understand what this was and what it was about so I insisted upon
Viorel Ionescu, Bucharest, interviewed by Simina Badica, 2 Sept. 2010. All interviewees
namesarepseudonyms.
8
MargaretaCalinescu,Bucharest,interviewedbySiminaBadica,4Sept.2010.
9
DinuBunescu,Bucharest,interviewedbyAnamariaIuga,19Nov.2010.
10
AndonIgov,Sofia,interviewedbyTeodoraKaramelska,3Feb.2010.
11
BarbaraMorris,London,interviewedbyHilaryYoung,9Jan.2011.
12
HaroldStevenson,Southampton,interviewedbyJohnSpreadbury,31Jan.2011.
[173]
JoannaBornat&DanielaKoleva
going to a class and I was [laughing] I was in fact confirmed. I didnt do
anythingwithitbutitwas,somepeople,IseemedtogettheideathatifIwasnt
confirmedIwouldntbeafullyfunctioningmemberofBritishsociety.Ithadthat
sortoffeelingaboutit,buttherewewere.13
She later had her son christened because, I didnt want to disadvantage
mychildbynotdoingtherightthing.Latersheorganisedachurchfuneral
for her mother, as a duty that she had fulfilled. Other interviewees as
they describe rituals summon up a sense of unarticulated consensus,
conformitythusacquiringapositivemeaning,asIonaGeorgescusuggests,
Out of habit, or because it looks good14 and I dont think they give a
damnaboutthewords,theyresingingandtheyrejustbeingpartofit.15.
The default whether it is called natural, the tradition, the
conventionalthings,beingpartofitbecomesassociatedwiththeright
thing and thus acquires moral connotations. Conformity turns out to be
compliance with a moral imperative. This stance is even more salient in
othertypesofattitudeswhichexhibitthesameparadox:anactualchoice
isseenintermsofobligation.
Conformityasobligation
(baptismathome)Maybeoutoftradition,especially,orthefamilytraditionthey
couldnotforgetthisiswhatIthink.16
Icouldsaythisismoreaquestionoffamilytradition?Forifthisishowitwasin
thefamilyandthemajorityIwasconnectedwith,letssayinthesameagegroup,
they could not Maybe out of tradition, especially, or the family tradition they
couldnotforgetthisiswhatIthink.17
They [parents] always observed traditions. In the past people always observed
traditions.Always.18
13
PollyRutherford,London,interviewedbyHilaryYoung,5and17Oct.2010.
IoanaGeorgescu,Bucharest,interviewedbyAnamariaIuga,23and26Nov.2010.
15
LewisFarrow,Southampton,interviewedbyJohnSpreadbury,1Feb.2011.
16
IonCotescu,Bucharest,interviewedbySiminaBadica,26Jan.2011.
17
IonCotescu,Bucharest,interviewedbySiminaBadica,26Jan.2011.
18
Valentina Vassileva, Shumen, Bulgaria, interviewed by Galina Goncharova and Vanya
Elenkova,12July2010.
14
[174]
Oralhistorycrossingnationalboundaries
So there was nothing imposed on you in any kind of way. It was just lived. And
because of the example that we were given we never saw any other way of
living.19
[wedding] All brothers came and they made a beautiful party. My father was
20
doingsomedeliciouspicklesincask.
Likeanyweddingwithguestsandarestaurant.Many,manyguestsattended,
therestaurantwaspacked.21
Theywantedthephotographicopportunityandthereitwasandwestrolledround
thegroundsafterwardsandtookphotographs22
They could also reflect a sense of duty towards other members of the
family:
Onholidays,Ialwaysthinkaboutourdead.ifIdon'tdoit,Ifeelrestless.Imean,
itissomekindofobligationformyconscience.Andatthesametime,aduty.A
signofrespect,thefactthatIdidnotforgetthem,somethinglikethat.23
19
SylviaJones,Southampton,interviewedbyJohnSpreadbury,19Dec.2010.
MironPopescu,Bucharest,interviewedbyAnamariaIuga,13Dec.2010.
21
AlexandraKoleva,Sofia,interviewedbyGalinaGoncharova,18Feb.2011.
22
Lewis Farrow, Southampton, interviewed by John Spreadbury, 1 Feb. 2011, about
grandsonschurchwedding.
23
FlorinaCampeanu,Bucharest,interviewedbySiminaBadica,5and7July2010.
20
[175]
JoannaBornat&DanielaKoleva
Conformityasbelonging
Some of the interviewees relate their religious rituals not only as family
traditionsbutratherasaformofculturalheritage.Theypresentreligionas
a tradition that is part of their ethnic or national identity. Thus rituals
acquire a sense of relating as much (or less) to God as to ones cultural
background. This form of identification seems more salient amongst
minorityethnicmembers:JewsfromLondonandBucharestandBulgarian
Turks refer to their religious rituals both everyday (prayers, food
restrictions) and rites of passage (circumcision, bar mitzvah24, weddings,
funerals) as part and parcel of their culture. It is interesting, however,
that many Orthodox Bulgarians and Orthodox Romanians, unlike most of
theUKinterviewees,oftenmentiontraditionorcustomwhentheyspeak
aboutreligiousrituals:
I was not a believer. But it [wedding in church] was a custom. I mean I cared for
respecting these customs. We never attached a religious meaning to it. It was a
ritual.25
Iwasn'tareligiousperson,butitwasthecustom,sotospeak.26
Butwaitwhatdoesareligiousholidaymean?GoodLord,tousthisisacustom.This
isatradition.Noonecansayitshisorherown.Neitherpagans,norpriests.27
Wemightgotothesynagogue,whichwedid,theressomethingaboutgoingtothe
synagogue,whetheryourereligiousornotforme.28
. The Bar Mitzvah ceremony marks the transition from childhood to adulthood typically
whenaJewishboyreachestheageof13.Forgirls,BatMitzvahisasimilarceremony,made
whenagirlis12.SomeorthodoxJewishcongregationsdonotholdtheceremoniesofboys
andgirlsinequalstanding
25
FlorinaCampeanu,Bucharest,interviewedbySiminaBadica,5and7July2010.
26
MargaretaCalinescu,Bucharest,interviewedbySiminaBadica,4Sept.2010.
27
DimanVasilev,Sofia,interviewedbyGalinaGoncharova,20Jan.2011.
28
BarbaraMorris,London,interviewedbyHilaryYoung,9Jan.2011.
[176]
Oralhistorycrossingnationalboundaries
suggesting,isanunderstandingofreligionasculturaltraditionratherthan,
orasmuchas,asystemofbeliefs.
Conclusion
[177]
JoannaBornat&DanielaKoleva
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[179]
[180]
IV
IV
:
.brahimEdhemPaa
() Mustapha Khaznadar (
)
Abstract
,
,
,
brahimEdhemPaa,(),HekimsmailPaa,(
),CavidPaa,()MustaphaKhaznadar
().2
1
,,(johiath@gmail.com).
Fustel de Coulanges:
,;.,
.
1855,
, ,
2
[183]
,,
,
.
Dr.EdhemEldem,
( brahim Edhem Pasha),3
,ThestoryofthelittleGreek
boywhobecameapowerfulpasha:mythandrealityinthelifeofIbrahim
Edhem Pasha, c. 18181893
.
,18181893(Eldem2010).
Mustapha Khaznadar
, ,
:MoustaphaKhaznadar.
19 . (18371878).
(HasanelKoki2008).4
brahimEdhemPaa
Mustapha Khaznadar,
,
.
.
. ,
, .
,
.
: (Fustel de Coulanges
1857:161162.FusteldeCoulanges(..)1977:223224).
Hekim smail Pasha, (
),CavidPasha,()MustaphaKhaznadar().
brahimEdhemPaa,,.Hekimsmail
Paa, , . . Cavid Paa,,
. Mustapha Khaznadar,
(
1974:404406,1921:9499,1911:147149).
3
Edhem Eldem, , Ethem
Paa,smailGalipBeyAzizeHanm,
, Sadi Bey. brahim Edhem Paa, ,
OsmanHamdiBey,HalilEthemBeyMustafaBey.
4
Hekim smail Pasha Leyla Neyzi.
,
.(Neyzi1999:1719)
[184]
brahimEdhemPaa
, 1822,
HsrevPaa.,
,
, .5
(18301839). 1839,
ArabiveFarisiveTrkibazulmufnununtahsiline.
1845 1846, (Gmhacky, Keban
Ergani),1847(Eldem
2007). 1856
1876.18761877
. 1877
(5 1877 11
1878).18791882
1883 1885
(http://en.wikipedia.org/wiki/Ibrahim_Edhem_Pasha /9122010/4:35).
20 1893 .
(Kurulu 2008:620
621).
Edhem Eldem,
,
Edhem Pasha, , ,
,,.
, Edhem Eldem,
,
,
, .6
, Edhem Pasha
,,OsmanHamdiBey,
5
E.Eldem,,
Ethem Paa,
,,HalilEdhemBey,1920,
,OsmanErgin,
Istanbulehreminleri
( ), (Osman Nuri Ergin 1927:260261).
,
EdhemPaa.(:Eldem2010).
6
: Hayat. nal, bnlemin Mahmud Kemal,
SonSadrzamlar,Istanbul,1942,p.652.TheNewYorkTimes,27August1877.LeTemps,
26 March 1893. Daubree, Auguste. Daubre, 1893:148 Dorys, Georges (
). L Femme turque, Paris 1900, p. 176. Mavroyeni, A. Notes et souvenirs,
Istanbul1989,p.21.(:Eldem2010).
[185]
,
.(Eldem2010).
8
DrEdhemEldem:
, 1232
(1816/1817),coledesMines,,
1818. bnlemin Mahmud Kemal nal, Son Sadrzamlar,
(Istanbul, 19401953, p. 600603) , brahim Edhem Pasha
1818(1234).OsmanNuriErgin,AbdlhamidiSani
veDevriSaltanat.HayatHususiyeveSiyasiyesi,(Istanbul1911,p.162),
brahimEdhemPaa,
1876, 1238 (1822/1823)
, , Hsrev Paa,
, . (: Eldem 2010).
Dr Edhem Eldem: ,
.
1238:
171822,
.
HusrevPasha
. Dr Edhem Eldem,
Edhem Paa,
Halil(:Eldem2010).
9
:TheNewYorkTimes,27August1877.Dorys,Georges,(
), La Femme turque, Paris 1900, p. 176. Mavrogeni, A., Notes et souvenirs,
Istanbul1989,p.21.(:Eldem2010).
10
Dr.EdhemEldem2002:273274.(:Eldem2010).
[186]
,
, .
,,
,1842(1920:101103,
1937:599, [] 1890:522. ,
.1561:1214,17,226v77v,9r,11v).,
,,
24.11
.
,
.,73
.12 ,
.:
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.
.,
: .
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:
11
,,,
.
, , , 8
1942,
,,:/,
/ ,
/ , /
.(,.1697:373920r
21v). , . brahim Edhem Paa,
Matematiki(17851865).(Aydz,Salim2008:620).
12
, , 18122010,
15:30. . . 73 , ,
,
.3,
Dr Edhem Eldem, Sadi Bey.
,.
,
.
,
.
[187]
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, : , , ,
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,
;[]
,180
.
.
,
Hsrev Paa
(17691855) ,
,
.
, .
.
,
[188]
,
, ,
.
brahimEdhemPaa.
Hsrev Paa, 1855. ,
,1822
20,185553EdhemPaa
35 . ,
, ,
. , ,
(
)
, (1856)
(1876),
.
,
, brahim Edhem Paa
,,
. , 18831885
,
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.
, ,
,
,18851886.13
,
(18851886),brahimEdhemPaa,
,
, , .
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: /
188418851886.
..
.
.
[189]
14
():
1822 ,
(+18251830)15
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+ / / / /
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, [] []
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1997:LVLVI). 102103
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19
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23(+1847).24
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16
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20
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,,.(,577,.254r255v,
. 369. ,
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,578,.227r228r,494
/14
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[191]
,
1832.
, , ,
, 1848 (. 13) ,
, 1866 (. 20).
,
1876(.19).
Edhem Eldem.
.
.
,;
,.
1822 29,
[]/
/
,
/211873).
21
1823.(,
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/182328)..
, , , , , ,
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578, . 142v143v, .269. ,
,,,,,
/1858 22).
,101866(,578,.247r250v.545),
, , ,
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.
,
, . ,
291853(,578,.243v),
,,1853
,.
22
,577,.132v./10
1870.
23
, 1823 28 , ,
,.(,576,.119v).
24
, 577, . 101r. ,
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[192]
/ [].25
,
,
1822,
,.
, ,
.
: [] / []
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/[][].
:[]/
/ []
.
1819 9,
, ,
! , ,
,
,
.
,
1819,25Safar
1235, 2 (1 . 1819).
18222
5.26
cole des Mines
,
1818,bnleminMahmudKemal
nal, Son Sadrzamlar, brahim
Edhem Pasha 1818 (1234 )
Edhem Eldem
,.
25
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29.
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1822, , 1824,
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.
[193]
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1819, . 1818
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. , , 1 Muharram
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[194]
,/
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HsrevPaa,
, Osman Nuri Ergin,
EdhemPasha;,
.
MustaphaKhaznadar
MustaphaKhaznadar(1814
26 1878) Ahmed Khaznadar
(18081849),
, ,
,1822.
(+1866),31
.(1921:9499).MustaphaKhaznadar
,,
Ahmad1837,(1837
1873)(18621873),
21 1873 .
,
/1823[],.197r
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11).
29
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,/182521.
,576,.143v./18462).
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.80r/18462),.
80v82r. /1846
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,577,.204r,.263
/111873.
31
... , 1156, . 109v119r, . 918
/281866.
[195]
, ,
Kbina, Kheireddine Pasha,
,
.261878TurbatalBey,
.32
,
,33,
,34 ,35
32
[196]
( 1921) (Hasan el
Koki 2008, Brown 1974) ,
,.36
,
MustaphaKhaznadar,
, Mohamed Khaznadar, ,
,
Hasan, , 6
2011.37
, Mustapha
Khaznadar,.Naufel,.,
:
36
,
, (183928 1939), ,
,18441861(1921:94
99).
37
Hasan,Mustapha,Mounir(,
,) Mustapha
Khaznadar Mounir, Naufel () Ines (
)Diziric().
38
, 6 2011 17
.:
Mustapha Khaznadar
MohamedKhaznadar,
Ahmed:
[197]
brahim Edhem Paa, Mustapha Khasnadar
.
brahimEdhemPaa,,
,
, , ,
.
, ,
,.
MustaphaKhasnadar,
Ahmed,
,
,
. ,
, Mohamed,
.
,
, ,
.
, ,
.
1814.,,
.1821,
, ,
.
.,
.
.,
1821..
MustaphaAhmed,
, .
BenAbdesslem,1823
ahmoud Houcine Bey.
Mounir Khaznadar.
.NaufelKhaznadar,.
.
[198]
,
.
,.1911.,,1:147149.
. 1997. .
,.:..
,.1921..
:.
, . . 2002. . .
18001920.:.
, . 1928. . , .
:...
,.1974...
..1.:
, . 1920.
.:...
, . 1937. .
.:..
[,..]1890.1822.
, , :
()1983,516538.
Aydz, Salim. 2008. brahim Edhem Paa. Yaamlar ve Yaptlaryala
OsmanllarAnsiklopedisi,Cilt1,Istanbul:YKY,620.
Brown, Carl. 1974. The Tunisia of Ahmad Bey, 18371855. (New Jersey):
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Fustel de Coulanges. 1857. Mmoire sur lile de Chio. Paris: Imprimerie
Impriale.
FusteldeCoulanges,().1977.
. Mmoire sur lile de Chio (1856). : .
.
Hasan el Koki. 2008. Moustapha Khaznadar.
19
. (18371878). . ( .
Mohamed el Azhar el Gharbi, ,
, 2007
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Kazdaghli, Habib. 2000. Communauts mditerranennes de Tunisie: Les
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Kazdaghli,Habib.2007.Lesfrontiresdelidentit:latripleappartenance
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OsmanllarAnsiklopedisi,Cilt1,Istanbul:YKY,620621.
Neyzi, Leyla. 1999. Kk Hanmdan Rubu Asrlk Addama. Istanbul: Sel
Yaynclk.
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Alger:RogerDessat,152156.
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http://athensdialogues.chs.harvard.edu/cgi
bin/WebObjects/athensdialogues.woa/wa/dist?dis=51
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/9122010/4:35.IbrahimEdhemPasha
Buyers, Christopher 20002010. Tunisia. The Husainid Dynasty. Brief
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2011/2:25.MustaphaKhaznadar(KalkiasStravelakis).
http://en.wikipedia.org/wiki/Mustapha_Khaznadar
/315
2011/2:25.MustaphaKhaznadar.
: .1697.
/ / /
/../1899.
() : 576, 577, 578,
991,1156.
():
:
/ 4 1885.
[200]
/
188418851886.().
: 19111925.
18981901.().
MounirKhaznadar():
Mohamed Khaznadar, Mustapha Khaznadar.
().
[201]
.brahimEdhemPaaMustaphaKhaznadar.
[202]
Gen.
[203]
Gen.HasanKhaznadar
[204]
:
(19371949)
Abstract
Communitiesofmemoryandoblivion:theconstructionofmemoryinlife
storynarrativesofPonticGreeksaboutthepersecutionsanddeportations
oftheStalinisteraintheUSSR(19371949)
Thepaperanalyzestheformationofcommunitiesofmemoryandoblivion
among the Pontic Greeks of the former Soviet Union. Members of this
community who lived through the persecutions and deportations of the
StalinisteramigratedtoGreece,mostofthemintwowaveseitherbefore
WWII or after 1990. I will explore how these populations remember and
interprettheirexperiencesofpersecutionduringthe1930sand1940s,their
migration to Greece and their political affiliation after their arrival in
Greece.Iwillfocusinparticularontheirmemoriesofdeportationinapost
communist context. How did a narrative about the past become a
commentonthepresentandhowdoexperiencesinthepresentcontribute
totheidealizationofthepast?Whoremembers,whenandwhy?Andwho
preferstoforget?
,
2
.
2003
,
.
,,,
.
1939, .
1
,email:olsevast@uth.gr.
,
,
(2009).
2
[205]
90,
.
, ,
,.
;
;
,
,
.
,
;
;
Gramsci ,
(
2002:156).
.
,
Halbwachs,,
(Halbwachs1992:53).
,
.
HalbwachsConnerton,
/ ,
,
(Connerton2007:22).
,LuisaPasserini,AlessandroPortelli,Anna
Green ..,
(Passerini 2007, Passerini
1998:1617,Portelli1997:57,Green2004:42).
[206]
,
.
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12
Abstract
Crisis,unemploymentandpolitics:abiographicalapproach
One of the most serious consequences of the deep economic crisis that
affectsGreecesince2009istheunemploymentofalmostamillioncitizens.
Using the tool of the biographical interview, we try to highlight the
reflection of the experience of unemployment on feelings about the
situationofunemploymentitselfandtowardsthepoliticalsystem,aswell
asonpoliticalbehaviour.Viathemethodofgroundedtheorywediscover
perceptions,opinionsandattitudesandwecategorizethem.Withrespect
tofeelings,thedominantonesareapathy,rageanddespair,alongwitha
generalizedcynicismaboutthepoliticalsystemandabsenceofatendency
to organize. However, it seems that the political behaviour of the
unemployedisnotmadeonlyoffeelings,butalsoinvolvesagooddealof
rationality.Wecategorizeourintervieweesaccordingtotheirbehavioural
tendenciestoRepelled,TransformingandUnwavering.
,
20092012,
.
.
, ,
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,
1
, & ,
(ankafe@kpepanteion.gr).
2
, & ,
(itsirbas@pspa.uoa.gr).
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(1999,
Mazower2009).
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Witte1992,Anderson2001),
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[269]
[270]
Greekeconomiccrisisandimmigrants:agencyandstrategiesofPakistani
migrantsinAthens
EmiliaSalvanou
.
,
,
,,
,
, ()
.
Introduction
Eventhoughreferringtoliterarycriticism,Bachtinsnotionofthechronotopeisuseful
here. By bringing a mathematical concept into cultural studies, he refers to situations
where time becomes denser and space meets the needs of historical reality. In other
words,hesuggeststhatwecanonlyunderstandthewayexperiencedrealityisconstructed
at the point where the notions of time and space meet. In this sense, in Greece, the
economiccrisisdoesnotonlyaffecttheeconomic,socialandpoliticalconditions,butthe
wayitprojectsitsidentitytothetemporalcontinuityaswell.SeeBahtin1981.
[271]
EmiliaSalvanou
ThenarrativeofthecrisisinGreeceandimmigrants
Onthewayindividualandcollectivesubjectivitiesareinterrelatedandthelimitsofsuch
interrelation,seePasserini2007:3353.
[272]
Greekeconomiccrisisandimmigrants
(Hatziprokopiou2003,Kingetal2000,RibasMateos2004,Iosifides&King
1998,Fakiolas2000).Thenarrativeofthesuccessfulstategaveitsplace
to orientalizing and selforientalizing approaches, according to which
deficienciessuchasraceandtheundisciplinedcharacteroftheGreeks
were to blame for the states depression (Liakos 2011). The choices and
the expectations of the period that preceded depression (summarized
symbolically under the notion of reconstitution and meaning the state
thatwasformedaftertheoverturnofthemilitaryjuntainthe1970sand
theformationofawelfarestate)wereheldresponsibleforthecrisisand
for moral corruption. Alongside, everything that implied pleasure and
luxury (a core notion of the years before the economic crisis) was
condemned. In this frame, immigrants, who were the proof of the
wellbeingofthepreviousyears,werenowtargetedasresponsibleforthe
economic crisis, for the Greeks unemployment and poverty and the
disruptionofthesocialnet.
Thecommunity
ThisarticleisbasedonlifestoriesofPakistaniimmigrantswhoaresettled
intheareaoftheAtheniansuburbNeaIonia.ThePakistanicommunityhas
beenconstantlypresentinthedistrictduringthelasttwentyyearsandits
membersenjoythesecurityofferedbytheholdingoflongtermpermitsof
residenceafterthelegalizationactsin1998and2005(oratleastlicenses
that need to be renewed every five or ten years) (Pavlou & Skoulariki
2009).Thus,acoreofpermanentimmigrantshasformeditselfinthearea.
Around this core newcomers move, usually associated with the older
immigrantsthroughrelationshipsofkinshiporproximityofplaceoforigin.
A constant flow of information and solidarity through such networks
providesaccesstothelabormarket,usuallyinthebuildingindustry,atgas
stationsorasmachineoperators.Partlyduetotheculturalcapitalbrought
fromtheircountryoforiginandpartlyduetoexperiencesofeverydaylife
andtheirrenegotiationinthecontextofintimaterelationshipsdeveloped
by regular, face to face contact between members of the local migrant
community, strong local characteristics are attributed to the community,
which lead migrants to regard it as different from the newcomers who
livedowntownAthens3
On the significance that locality has for the migrant communities see: Hatziprokopiou
2003:1045,Sassen1995.Onintimaterelationshipsandtheframeworktheyprovideforthe
renegotiation of memory, see Danforth and Van Boeschoten 2011. On the way migrant
subjectivityisformedbetweenthecountryoforiginandthatofdestination,seeBrah1996,
esp.187192.
[273]
EmiliaSalvanou
Crisisandracism
During the interviews on the impact of the crisis on migrants lives, two
were the main axes around which participants focused their narratives:
racism and insecurity associated with planning a future in the country.
Pakistani experienced racist attitudes against them well before the
economic crisis broke out. Racist attacks against them have reached a
climax since the spring of 2009, even though back then they were rarely
targetedas'dangerous'bythemediatheywererathervictimizedasblind
targets of extreme right wing racist attacks (Kampouri & Salvanou 2009).
Thingsseemtohavechangegraduallyafterthesummerof2009,partially
because of the political visibility migrants claimed for themselves during
the protests for the Koran" and partially due to the discussion of new
legislationconcerningthenaturalizationofimmigrants,thatprovokedthe
4
ThisphaseoftheresearchwasfundedbyaLatsisFoundationscholarship.
Seealso:Andifcontemporarymigrantpopulationsarenottoappear asmute,passive
strawsinthepoliticaleconomicwinds,weneedtolistentoawiderangeoftravelstories
(nottravelliteratureinabourgeoissense)(Clifford1992:110).
5
[274]
Greekeconomiccrisisandimmigrants
reactions of the conservatives and the right wing political parties (2009
2010).6 Triggered by these two events and in the framework of an
economic crisis that became political and led to a dispute, as well as
distrusttowardsthepoliticalsystem,theconstructionofimmigrantsasa
dangerous instead of a victimized social group was easy to happen,
especiallyforthoseimmigrantswhosedifferencewas"visible".7
Inthenarrativesofmigrantsduringtheeconomiccrisis,racismno
longeristracedexclusivelyattheextremerightwingattacksagainstthem.
Racismcannowbetracedatthecenterofeverydayspeechandbehavior,
at least for a large part of the city's resident (Liakos 2012).
Substantializationofskincolor,alongsidewithconnotationsofculturaland
moral inferiority are now a central part of everyday experiences of
Pakistanis in Nea Ionia. Whether in their dealings with public services, or
whenusingpublictransportorsimplywhenpresentinpublicspaces,the
discourseaboutthe"blacks"who"havetakenourjobsandnowevendare
to have claims are on the daily agenda. The strategy migrants prefer in
ordertorespondtosuchobjectionsisbynarratingtheirmoralsuperiority
vs "corruption", which is viewed as an eminent characteristic of Greek
societyincrisis.UsingwhatMaryLouisePratthascalled"selfethnographic
techniques," they reverse the categories assigned to them, by drawing
6
During2009racistsentimentsandattacksatAthensbecamedenser,partiallybecauseof
the upcoming elections for the European Parliament and the conservative governments
attempt to make alliances with the most conservative part of its constituency. Anti
immigrant attacks were tolerated and the police organized sweeping operations
downtown Athens .When four migrants, resembling South Asians and not seeming to
belongtothehandfulofthosesecurelyintegratedintheGreekproductionprocess,were
subjected to a body search, in one of these operations, a policeman found, tore up and
stompedonafoldedpieceofpaperonwhichextractsoftheQuranhadbeenwritten.Asa
result, Muslim immigrants over the next ten days staged protests in downtown Athens,
demandingrespectfortheirculturalidentityandreligiousfreedom.
In 2009 a new legislation law was proposed in Greece, according to which migrants that
had been present in the country for a substantial number of years could, under certain
preconditions,becomeGreekcitizens.Thesamelawprovidedthatchildrenofimmigrants
borninGreececouldbenaturalized.Itwas,inthissense,thefirsttimethatcitizenshipwas
disconnectedfromtherightofbloodandconnectedtopoliticalnaturalizingprocesses.It
therefore provoked great resistance by the most conservative parts of the society. For a
criticalapproachofthenaturalizationactandthenotionofcitizenship,seeChristopoulos
2010.
7
Balibarnotesthatracismshouldbeunderstoodasaconflictualrelationshipwiththestate.
Thisconflictualrelationshipisprojected,inadistortedway,againsttheOther,targeting
him as dangerous. He continues to argue that, in Europes case, the inefficient
characteristicsoftheEU,thatseemstorestrainitselfonlytogivingapoliticalformtothe
marketsunificationwithouttakingcaretocreateconsciousnessofpoliticalunification(an
experiment with no historical precedent), is the basis for the conflictual relationship
between the state and its citizens, and therefor racism is unavoidable unless political
decisions are taken. See Balibar 1991:15. On a discussion of precarious lives and the
constructionofthestereotypeofMuslimdangerousness,seeButler2006,Naber2008.
[275]
EmiliaSalvanou
from the organizational discourse and the values of the society which
targets them.8 The two examples that follow will help to make clear the
way in which migrants deal with the negative stereotypes imposed upon
them:
Years ago, in 2003, I worked for a carpenter. My boss paid me regularly but I
complainedthathedidntgivemethesocialsecuritystamps.Imadeacomplaint
tothesocialsecurityservices.ItwasnotthatIneededthestampsformypermitof
residence, just that it was not right. I was called to the court [Committee] and
explained to them that Ive my money I got, but it was not right for the state. I
loveGreece,thiscountrygavemefood,itisnotrightwhathappened.ButIwas
notallowedtospeak,Iwasmockedwhatsyourproblemsinceyoualreadygot
yourmoney.Onlytheheadofthecommitteesaid:Tellmeboywhatyouhave
tosaythisladtalkscorrectlyandthenhecalledmybossforexplanations.But
henevershowedupheonlyrangmeonthephoneandspoketomeverybadly.
NexttimeIwenttothecommitteeItoldthemthatIwasnotlyingandthatIcould
proveit:wecouldgotogethertoahouseIhaveworkedon,and,withoutentering
the house with them, tell them in details how the cupboards in the kitchen are.
ButIcantgetanotherdayoffworktocometotheCommitteeagain,becauseI
wontgetpaid.ThereasonIcametothecommitteeisforGreecessake,becauseI
donotwantsimilarthingstoPakistantohappenhere.There,thepeopleworking
for the state stole the money (they were not good people) and you know what
happened...DontletGreecebecomethesame.(Mohammad,43,interviewon9
April2012)
Whenwefirstcametothishouse,theladynextdoordidntlikeusatall.Wewere
aliens,andonlymen...shewouldprefertohaveGreekneighbours.So,shekept
onsayingthingsaboutthewayourfoodsmellsandcomplainingabouttheshoes
we left outside the door. We said nothing. Even when she called the police and
accused us of making the wall collapse because we put a nail on it, we said
nothingagain.Wehelpedherbuildthewallagain.Withtimesheunderstoodthat
wearenicepeopleandthatwedontliketrouble.Now,shegaveustheseplates
that she was given at the supermarket [as a gift, because of something she
bought]butshedoesntneed.Sheismorefriendlynow.(Tareque,38,interviewed
on20April2012)
Thepatternthatemergesfromsuchnarrativesisthemisunderstoodmoral
superiority of Pakistani immigrants a moral superiority that is partially
integrated in and interpreted by their religious identity. As Mohammad
stated in the abovementioned story: "a good Pakistani is a good Muslim,
andthegoodMuslimissincere,honestandpeaceful".
MaryLouisePratthascoinedthetermselfethnographicexpressionstorefertotheway
subaltern population used the colonial discourse for their self representations (Pratt
1992:7).
[276]
Greekeconomiccrisisandimmigrants
CrisisandthePakistanisworkinglives
Theeconomiccrisisandthewaymigrantsexperienceitisintegratedinto
theirstoriesintwointerrelatedways.Ontheonehanditisnarratedasa
personal experience accompanied with the strategies chosen by the
subject to deal with it. On the other, their narratives may seem to be
detached from the trivialities of the crisis and articulate an argument on
the reasons that provoked the crisis. In that sense, they keep for
themselves a position on the limits of "belonging" and "not belonging",
claiming that they recall memories from two cultural contexts, not really
belongingfullytoneither(Hassoun1996).
When managing the crisis on a personal level, migrants seek
alternatives through the renegotiation of their migration history. Their
narratives in this phase approach their lives from a different perspective
than before, mainly because they seem to rely more on human agency
thanonstructuralcausality.9Inthenewnarrativesuncertaintyandfluidity
aremuchmorepresent.So,nowforthefirsttimetheyaretalkingnotonly
aboutthedifficultiestheywereexperiencingbeforechoosingtoemigrate
ortoanostalgicimageoftheirhomeland,butfortangiblealternativelife
choicesthatmanyofthemleftbehindchoosingtomigrate.Localrivalries
and corruption of power, personal stories about efforts to overcome
rigidities of local communities and the way they were undermined are
details previously omitted from the narratives as irrelevant, but
neverthelessillustratechoicesinlightofagencyandsubjectivity:
HereIworkatconstructionsasaglazier.Butthisisnotmyjobitwasnotwhen
IwasinPakistan.Iusedtobeateacher.Forlittlechildren.Buteducationisnot
good in the villages. And I wanted something better. I had my own school
private school. And kids used to come there. I was not teaching them only
religious education. More things. But I needed money, a lot of money for the
school(itwasnotmybuildingyousee).Andnobodyhelped.Yousee,theydidnot
like it. They do not like kids to get educated. So I had to go. I work here, make
money,andsendback.IstillhavemyschoolthereIhaveotherteachersthere
working.ButIhavetosupportfromhere.Thingsdonotchangeeasily.(Husain43,
interviewedon12.2.2012)
Whenwelefthome,wesentmoneybackeverymonth.Wesavedforbuildingthe
family house there and supported our parents, our families and younger
9
AboutthewayPakistaniimmigrantsrelatedwiththeirworkinglivestheyearsbeforethe
economicdepressioninGreeceseeSalvanou2012.
[277]
EmiliaSalvanou
siblingsBut now, we dont have enough money to send back. We dont have
enoughmoneytoliveonhere.Manyofusareunemployed.Andourparentsand
wives complain. They want us back. They see no use in us being abroad.
(Mohammad35,interviewedon22.1.2012)
Andfinally,theirnarrativesalsoreflectatransitionprocessthatoccursin
their countries of origin regarding the ambivalence between personal
choices and the demands of tradition. Such ambivalence usually is
provokedbyimagesoftheWest,particularlythoseassociatedwithgender
identitiesandsexualfreedom,transmittedbytheolderimmigrantsduring
their trips images that, regardless of their exaggeration, encourage the
young ones to migrate, even if economic circumstances seem less
favorable.
Ill be honest with you I know you for so many years, so please forgive me,
because you are a woman too, but not like that Young ones that come here
knowthateconomicallyitisnoteasyanymorenomoneyandnojobs.Butthey
get excited from the Pakistanis that return for visiting and want to brag about
themselves. You know our country is conservative no flirting, no sexual
relationshipsbeforemarriage.Andweddingsaredecidedbytheparents.Buthere,
inGreece,inEurope,womenaresodifferentIdontthinkitsright,thewaythey
dress,thewaytheyrelatewithmen,butthisishowitisandyoucanbewitha
women easily. Thats the way the younger ones come please dont get
offended(Ishrat45,interviewedon5.2.2012)
Women are so different here in Greece you think they love you, they create
relationshipswithyou(thatswhatyouthink),buttheyonlycareaboutmoney.If
youcantgivethemmoney,theyleaveyou.Iknow,ithappenedtomeitlasted
sixmonths.Ourwomenaredifferenttheyknowwhathardshipistheyarefor
families.Butyoumustmarrythemitstheonlyway(Tareque41,interviewed
on7.3.2010)
Strategiestowardstheeconomiccrisis
Themigrantsattemptstointerprettheeconomiccrisisarecloselylinked
tothestrategiestheydeveloptodealwithit.Somerefertotheendofa
cycle and their abandoned expectations to permanently settle in the
country, bringing along their families. Their plan now is to return to
Pakistanandinvestinbusinesstherethefundstheyhadgatheredfortheir
new lives in Greece. Others choose to tell their life story through a
narration pattern of ongoing mobility: their next stop will be another
Europeancountry,wheretheywillonceagainbe"undocumented"andwill
keep returning regularly to Greece in order to renew their work permits.
And others, those who have developed stronger ties with the country,
especially those who are settled in Greece with their families or have
already filed applications for naturalization, are ambivalent between the
desire to stay and the fear that they will again experience exclusion. The
[278]
Greekeconomiccrisisandimmigrants
waytheyareexperiencingthemselvesisatthesametimeaspartofandas
outsiderstothelocalsocietyscollectivesubject.
Thedifferencesinthewaythatimmigrantspositionthemselvesin
the crisis framework are due to objective differences in their social,
economic and life conditions of course, but also reflect different ways of
understandingtemporality.Ontheonehandtherearethosethatbelieve
that returning to their country of origin is part of the trip of migration
they left in order to return one day. On the other hand, there are those
who,whendecidingtomigrate,leftwithoutplanningtoreturn.Thesetwo
conceptual frameworks unveil different attitudes towards migration and
therefore different subjectivities are formed, based on these attitudes.
(Hartog2001:1540).Inotherwords,itisobviousthatthechoicebetween
returning to Pakistan, staying in Greece or continuing the trip towards
another European country does nt depend only on available networks.
Preferringonechoiceovertheother(andthususingtherelevantnetwork)
dependslargelyonthewaytheindividualpositionshimselftowardseach
ofthesegroupsatthegivenmoment.Inotherwords,whatemergesfrom
thewayPakistanisofNeaIonianarratetheirlifestoriesisthatthewaysin
which they integrate the experience of the crisis into their narration of
theiroverallmigrationnarrative,dependstoalargeextentnotonlyonthe
economic conditions, but also on the mental canvas through which they
made meaningful the choice to migrate in the first place. In this context,
whenthedecisiontomigratewasmadeasafamilystrategytoempower
the households economy, then the decision to return home because of
the economic downturn is very much visible on the horizon. Oppositely,
whentheinitialchoiceofmigrationisassociatedwithpoliticalhardships,
repatriationdoesnotseemtobeachoiceofpreference,evenifthereare
families and children left behind. In this case moving forward to another
country,seemstobethemostappropriatechoice.Itisonlyincaseswhere
tieswithGreeceseemtobestrong,especiallyafterhavingchildreninthe
country,thattheinitialreasonthatledtomigrationseemstobecomeless
important in deciding the strategies to deal with the economic crisis. In
thesecases,itseemsthatPakistanisgetengagedinexploringthecausesof
the crisis. Moved by their current experiences, they recall comparable
situationsintheirhomecountry,whichrefermainlytothefunctioningof
thestateandwhichtheyfindtohaveastructuralbasisandtobestrikingly
similar. On this basis, they seem to hold for themselves a privileged
position to gain understanding of the crisis, since they are able to
recognize and identify warning signs of the crisis based on their
experiences at home. Nevertheless, they continue to experience
continuously the ambivalence of their alien situation: the ambivalent
alienation of the subject whose subjectivity is constructed as a binary
oppositiontothelawfulcitizenduetotheveryexperienceofmigration:
[279]
EmiliaSalvanou
the "illegal" route of entering the country, the difficult relationship with
theauthorities,thepermitofresidence,livingbetweentwolanguagesand
two cultures, the need for memory in order to preserve a coherent
identity,thedreamofintegration(Chambers1994:6).
Conclusions
Greekeconomiccrisisandimmigrants
righttopracticetheirreligion),butthefactthattheirveryhumanityisvery
muchquestionedandthattheirlivesareregardedasprecarious.Andit
seems that other social groups that are near the margins of society
experience similar controversies. It is interesting that through their
narratives Pakistanis focus exactly on human agency, confirming the
priorityofthesubjectagainstthestructuraldeterminationsofhistory.
The stories of Pakistani immigrants in Nea Ionia offer another
example of the way in which, in situations where social divisions and
exclusions are imposed, subjects, rather than complying or resisting,
produce multiple forms of otherness and redefine the networks within
which power is produced (Fregoso & Chabram 1987; Gilroy 1991). More
thanbeingbasedonthelivedexperienceofthemigrationsituationinthe
hostcountry,therenegotiationreconstructsanarrativethatconnectsthe
pastwiththefuturebasedontheexpectationofsocialintegration(Liakos
&Salvanou2010).Bothnarrativesofthepastandthoseofthepresentare
renegotiateddependingontheversionoftheexpectedfuturethatseems
moreviable.Inthissense,inthesenseoftherenegotiationofanarrative
depending on the possibility of being able to visualize the aspired
remaining in the social network or the feared exclusion, the multiple
dynamics that emerge from the migrants narratives should be
contextualized into an ongoing procedure of renegotiation of power
relations and subjectivities that takes place between and within social
groupswhoexperiencethecrisisofneoliberal'normality'.
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Zahou,ChrysaKalerandeEvagelia(,).
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93.:.
[284]
Abstract
The life stories and versions of truth as reliable evidence: the case of
homelesspeopleinmodernGreece
This paper presents the life stories and versions of truth as reliable
evidence through the case of homeless people in modern Greece. When
studysubjectsspeak,wehavetolistentowhattheysay,toseekwhatthey
wanttosay,tryingtounderstand.Theversionsoftruthderivefromthe
intersection of narratives with ethnographic observation. However, in
borderlinecases,lifestoriesarebecomingcrucialduetothesilencewhich
isimposeddefactoonmarginalpeople,whovoluntarilywithdrawinthe
shadow. This situation neither favors the relationship between the
researcher and his subjects, nor the development of dialogue in the
ethnographicpractice.Theexampleofhomelessness,aborderlinecasein
the present, a trauma in progress, is a particularly special case, where
thelifestoriesrevealbyhiding,provethroughinaccuraciesand,turning
the homeless from invisible people to visible narrators, leave them to
writetheirownhistorybyunveilingit.
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[294]
1,2,3,
4,
,5.
Abstract
Chronicleofalongwinter
We focus on the interdisciplinary methodological approach of creating a
documentary, which records audiovisual narrations on the experience of
thecrisis.Thedocumentarycombinestheobservationdocumentarymode
with the militant and the selfreflexive documentary modes, paying
homagetocinemaverit.Thenarrationsofourcoresearchersaboutthe
crisis are performed through the recording and the analysis of their
narrations of oral history (mostly) and through the recording of their
everyday lives. The analysis suggests a complex relation among the oral
history, the subjectivity and the body language of participants, which
exceeds relations defined by audio recordings of interviews. We also
discuss the position of oral history within the necessary interdisciplinary
process of creating this documentary as well as questions posed by the
principles of militant observation. (The project was funded by the John S.
LatsisPublicBenefitFoundation.Thesoleresponsibilityforthecontentlies
withitsauthors).
1998
1
,,.
email:cadamou@film.auth.gr.
2
.email:jonfilm@yahoo.com.
3
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email:ppantazi@film.auth.gr.
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[307]
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, . 2008. ().
,:.
Breschand, Jean. 2003. : ,
:,:.
Darcy de Oliveira, Rosisca & Darcy de Oliveira, Miguel. 1985.
.
. ,
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:,181205.
Ferrarotti, Franco. On the Autonomy of the Biographical Method.
Daniel Bertaux 1981 (ed). Biography and Society: The Life History
ApproachintheSocialSciences,London:Sage,1927
Gaulejac,Vincent,de.,:1993.[
: Gaulejac, Vincent, de. 1987. La nvrose de classe:
trajectoiresocialeetconflitsd'identit.Paris:Hommesetgroupes.
Kilborn, Richard & Izod, John. 1997. An Introduction to Television
Documentary: Confronting Reality, Manchester: Manchester
UniversityPress.
Piault, Marc Henri. 2008. .
,.:.
, . 2007. 10 . :
[308]
VI
VI
Abstract
Stimulatingempathy.Oralhistoryasatoolforantiracisteducation.
Thepaperpresentsaprojectthatinvolvedaclassof15yearoldstudentsin
201011.Themainaimwastocultivateempathytowardsimmigrantsthat
live in Greece by exploring the phenomenon of Greek immigration to
industrialcountriesduringthe20thcentury.Thepupilsstudiedanetworkof
texts:anovelinwhichtheheroesareGreekimmigrantsinGermany,oral
testimoniesofGreekimmigrantsinBelgium(includedinaacademicbook)
and in the USA (presented in a documentary film), the material of an
exhibitionconcerningGreekimmigrantsinGermany.Basedonknowledge
builtthroughtheabovesources,thepupilselaboratedaquestionnaireand
some of them arranged interviews with Greek eximmigrants and foreign
immigrants living in Greece. The result was a short documentary film.
However,theresistanceofanumberofpupilsduringtheprojectshows
that antiracist education, in order to produce results, must be a
systematic,longprocedure.
(201011)
.
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[319]
Dickinson, Alaric, Peter Lee, & Peter Rogers. 1984. Learning History.
London:HeinemannEducationalBooks.
Kailin,Julie.2002.Antiracisteducation:FromTheorytoPractice,Lanham,
Maryland:Rowman&LittlefieldPublishers.
Lawrence,SandraM.&Tatum,BeverlyDaniel.1998.WhiteRacialIdentity
and AntiRacist Education: A Catalyst for Change. Enid Lee,
Deborah Menkart, & Margo OkazawaRey (.), Beyond Heroes
and Holidays: A Practical Guide to K12 Antiracist, Multicultural
Education, and Staff Development, Washington, DC: Network of
EducatorsontheAmericas,4551.
http://wiki.uiowa.edu/download/attachments/31756797/White+Racial+I
D.pdf.
http://politproductions.com/content/%C2%ABraceetculture%C2%BB
conf%C3%A9rencedel%C3%A9vistrauss%C3%A0lunescole22mars
1971audio & http://politproductions.com/sites/default/files/art
%C2%ABrace_et_culture%C2%BB_levistrauss_unesco_22_3_1971.pdf
,&,(.).2010..
. :
.
Thompson, Paul. 2002. . .
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, . 2012. . :
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,.1999..:(1
1976,).
:
, . 1999. .
,
,11999.(www.rwf.gr)
[320]
1&2
Abstract
OralhistoriesoftheHolocaustandtheirinterpretationinthepresent
Inthispaperwewilldiscussasmallscaleeducationalsurveyinvolving10
15 year old kids and adolescents concerning their reactions to an oral
testimonyabouttheHolocaust.WatchingfirstlyMarkHermansfilmThe
Boyinthestripedpyjamas(2008),secondlytheinvivooraltestimonyand
the dialogue with a survivor of the Holocaust in the Jewish Museum in
Athens and finally the semistructured interviews we conducted, we
explorethefollowingaspectsoftheirexperience:Whatwerethequestions
that the children asked the survivor and how did they produce different
narrativesandinterpretationsasaresultoftheirdialogue?Didtheyoung
people understand the historical context of the the narrative through the
lens of the past or the present? Which factors affected their way of
thinking?WhatdooralhistoryandtheinvivoexperienceoftheHolocaust
meanforthekidsandadolescentsbetweentheageof11and16?
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.2011.100.;
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November12,
(:http://cretaadulteduc.gr/blog/?p=381(11/5/2012.
Cohen L., Manion L., Morrison K. 2008.
.:.
GorbinJ.,StraussA.2008.BasicsofQualitativeResearch,Sage.
. 2002. .
(),
,:,4354.
.1998.,HassounJ.,
.,.,.(),
,:,62112.
., ., . ., .,
. 2007.
.:.
Kvale S., Brinkmann S. 2009. Interviews, Learning the Craft of Qualitative
ResearchInterviewing.:Sage.
.2011.,,
.:.
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5,
November
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[338]
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Oralhistoryineducationasaradicallearningprocedure
The paper discusses issues related to the use of oral history both in formal
andininformaleducation,asinmuseums.Thediscussionisprimarilybased
on a theoretical comparative study of traditional and contemporary
approaches to history education and refers to relevant debates around the
world that shed light to the radical character of the use of oral history in
historyeducation.Thepaperalsopresentsarelevantoralhistoryapproach
to history education that was used as the main learning procedure of the
courseHistoryeducationandMuseumsattheUniversityofThessaly,forsix
academic years, with basic aim to introduce students into the method of
history and the nature of historical narratives, and to enhance students
future teachers understanding of the terms in which oral history can be
usedaseducationalprocedureatdifferentlevelsofhistoryeducation.
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VII
VII
Abstract
Photo stories: The narration of the photographs of Asia Minor
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Sontag,Susan.2003.,:
Scripta.
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[431]
[432]
Abstract
Sincethebeginningofthetwentiethcenturyphotographshavebecomean
integral part of the social life of Aegean islanders. Photographic images
have been incorporated and often associated with tradition,
authenticity,ritualpracticesandlocalidentity.Awayofapproachingthis
traditionalizationofphotographyisthebiographyoftheselftaughtisland
photographerGiannisVenardiswhokepttheonlyphotographyshoponthe
island of Skyros for over thirty years. The story of the photographers life
and his widely circulating photographs are vehicles of varying notions of
tradition and modernity that are of central importance in contemporary
ethnographyandanthropology.
.
,
,
.
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[442]
:
20
Abstract
Contestedworldsintheoutskirtsofcities.Themusicalbiographyofa
rebetisoverthecourseofthe20thcentury
Drawingfromarangeofbiographicalaccounts,musicalperformancesand
ethnographictestimonies,thepaperexploresthemusicalbiographyofan
amateur singer (19072001) and traces the cultural memory of a non
commercialprerebeticomusicalsceneinHeraklionofCrete.Memoriesof
and about music within the particular context of everyday life of the city
outskirt around the Lakkos brothels district, hashish dens and portside
haunts carry their own histories that are intertwined with nostalgic
reflection,actsofauthentication,meaningandambivalence.Biographical
accountsfunctionasaformofculturalresistancetothemodernizationof
urban life and commercialized music which led to the marginalization of
thesubjectsmusicalidentityinachangingsocialworld.
o
(Bithell2006).
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1
[443]
,
( 1987)
(1986)
.,
1992199325,
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199293.
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( 1999, Painter 2002, Pekacz 2004).
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(episodic memory)
, (semantic memory)
3
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2008:104110,148154.
[446]
,
(procedural memory)
.
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Abstract
WomenMotorcyclists:GenderMigrantsontheMarginsofNonCommunity
1.
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[466]
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Thelongjourneyoflanguagethroughthebody
lapsus
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[473]
[474]
Abstract
OralHistoryinthecommunity
TheypseliOralHistoryGroup(ingreek)isalocalcommunitygroup
collecting oral testimonies. Its members are all volunteers and, most of
them,liveinKypselionce,atypicalmiddleclassneighbourhoodofAthens.
Over the last thirty years Kypseli has undergone enormous change,
degrading from an affluent, highly coveted Athens neighborhood to one
often slandered by the media due to its great number of immigrants,
increasing poverty and racist violence. The members of have been
conducting interviews among the residents of this controversial and
densely populated area for nearly two years now. This presentation
attempts to address four issues: a. Challenges and opportunities arising
from the action of a voluntary oral history group, b. The memory of the
40sinthecommunity,c.Livingandworkingintheareafromthe20tothe
presentandd.ImmigrationinKypselioverthelastdecades.
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Abstract
Secondarynarrativeanalysisofbiographicalinterviews:Aworkshop
Inthispaper,Iattempttodevelopatheoreticalframeworkconcerningthe
secondary narrative analysis employed in the interpretation of structured
interfamilial biographical interviews. The latter focused on childhood
experiencesofGreeknarratorsinthe1930's.Theissuewasinvestigatedin
two workshops on Interpretative and Reflective Narrative Analysis of
Biographical Interviews that took place in the context of History and
Teaching of History / Folklore Studies and Culture Postgraduate
Programme of the Department of Primary Education of the University of
Athens.Theinterpretiveanalysisoftheinterviewsismeanttohighlightthe
obvious and hidden meanings of the narrators' discourses regarding their
childhood,thusrevealingattitudesandvaluesrelatedeithertothepastor
thepresenttimeoftheirnarrations.
,
/ 1930.
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(workshops)
20092010
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analysis)2
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[529]
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[530]
Abstract
The paper will initially focus on the transition from the "biographical
method", in which the biographical narratives are perceived primarily as
"sources"thatrevealthe"subjectiveperspective"onsocialphenomena,to
"biographical research" where biographies are understood as social
constructions,asaresultofspecialeffortsmadebyindividualsinorderto
construct actively their social experiences and also to generate personal
coherence.ThenIwillrefertothecriticismfacedbythisapproach,(a)from
a radical constructivist point of view, which argues that biographical
narrative must be seen only as an "instantaneous text", and (b) from a
postmodernist perspective, which argues that the interpretative case
reconstructivebiographicalresearchreproducesnecessarilyanessentialist
perceptionofacoherentandstableselfidentity.Finally,Iwilldiscusshow
biographicalresearchersanswerthesecriticisms.
.
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.email:tsiolisg@uoc.gr.
2
. Chamberlayne, Bornat & Wengraf (2000)
FuchsHeinritz(2000)Roberts,(2002)Rosenthal(2004)Miller(2005)Vlter,..(2005)
(2006),(2010).
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Rosenthal (2005: 137152), Maindok (2003:121135), Alheit (1997), (2006:170
181).
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.corpus
Abstract
Reusingandrevaluatingarchivematerialsoforalhistory.Theexampleofa
corpusofsilversmithslifestories
Thepaperexamineshowmucholderoralhistorymaterialisreinterpreted
bythesameoradifferentresearcherfromadifferentperspective.Wewill
focus on the reuse of eighty interviews of silversmiths from Ioannina,
recordedin19956anddealingwiththehistoryofcraftsmanshipaswellas
theeverydaylifeandcultureofthesilversmiths.Thereturntothismaterial
revealeduniqueareasforstudy,unexploredareasandmeaningsthatdid
not get enough attention, for example concerning the impact of the war
decade on the lives of the silversmiths, the role of women and gender
relations, the role of the family and the development of a local cultural
identity. As a result, the establishment of oral history archives in
universitiesorotherresearchorganizationsconstitutesanessentialmove.
87 ,
.1995
1997, E
H H
: H A (19951997)"2
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CD
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(
1982:964, 2002:2034, 2002:5165,
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.,70
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1982:3864, K 1993:251270, &
2003,2010,2012).
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QualitativeDataArchivalResourceCentre,
,
P. Thompson
(Thompson 2000:570578, Corti and Thompson 2004).
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3.
,
(Bishop 2009:255272, Broom et al.2009:11631180).
,,
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52, Grele 1987:570578, 2011:140141).
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NationalSocialPolicyandSocial
ChangeArchive,RevisitingPeterTownsend:SocialPolityQualitativeResearchanditsRe
use, Colchester 21 October 1997: National Social Policy and Social Change Archive,
UniversityofEssex.
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