Or rather, there is a reframing of these stories, so that instead of anger and despair, there is a gradual development of compassion and acceptance of their experiences and who they are. Here, the person no longer relies on a conceptual framework of limiting thoughts, beliefs and assumptions, but rather allows the past, and a constraining personal story, to fall away in favour of living openly in the present moment with all its multiple possibilities.
Life Writing and Human Rights: Genres of Testimony Deadline: Genres of Testimony The stories we tell about our lives and the lives of those around us leave footprints across history.
That history can be of personal, familial or of widespread political and public importance. Whether public or private, the telling of and the listening to life narratives is a concern of increasing importance across a range of disciplines, professions and practices.
Since the end of the First World War, politics has been increasingly expressed as and measured against norms categorised as human rights. The individual in relation to the state and states in their interactions with one another are, in theory and sometimes also in practice, governed by the legal architecture of human rights frameworks at national, regional and global levels.
These same processes may come into play in cases of domestic or private human rights abuses, where the victim must make public their suffering in order for it to be recognised, and for justice to be done. The bulk of human rights defence and advocacy is based on making acts open to legal process.
For this to happen we need victims to testify. We need witnesses to write their autobiographies and memoirs and we need the media to investigate and report on atrocities. We need perpetrators to confess. We need the life stories of all those involved. What is the relationship between these two concerns: Human Rights and Life Narratives?
We are looking for work that will debate, among other things, the following questions How do the processes involved in the telling and compiling of testimony in extreme situations of crimes against humanity affect our perception of these events and our ability to prevent them?
How are such events named and changed in that naming? How are they described and what happens to that description in the legal, media, political and emotional life of the event over time? We would particularly welcome papers, panels, workshops, performances or readings that:As titles such as Fictions of Autobiography, Being in the Text and Artful Histories suggest, earlier studies of autobiography habitually dealt with the limits of life writing with recourse to hybridity, if not oxymoron and paradox.
And, of course, life writing as a practice, rather than a discipline, has also always been concerned with limits: the limits between self and other, memory and forgetting, past selves and . Narrating Contested Lives: the Aesthetics of Life Writing in Human Rights Campaigns..
[Katja Kurz] -- Within the nascent field of interdisciplinary human rights studies, this volume explores activist autobiographies as collaborative projects within the context of human rights campaigns.
An interdisciplinary and geographically diverse collection, Pushing the Boundaries of Latin American Testimony will stimulate much discussion among readers with an interest in the fields of Latin American studies, life writing, human rights, women's studies, dictatorships and revolutions, and trauma studies.
Paper delivered at a Conference “Life Writing and Human Rights: Genres of Testimony” at Kingston University, Center for Life Narratives, Kingston, England, July , Life Writing in the Long Run: A Smith and Watson Autobiography Studies Reader [Sidonie Ann Smith, Julia Anne Watson] on feelthefish.com *FREE* shipping on qualifying offers.
Life Writing in the Long Run gathers twenty-one essays by Sidonie Smith and Julia Watson written in collaboration or solo and published over the last quarter-century. "Genocide Genres" investigates the transnational circulation of atrocity testimony, writing which describes the most spectacularly failed of human encounters.
In particular, my project compares the production and reception of atrocity narratives across three distinct, post-WWII discourses: 1) Holocaust studies, 2) the modern human rights movement, and 3) international criminal law.