File #2461: "2018_Book_PerpetratingSelves.pdf"
Testo
1|Acknowledgements|5
1|Contents|6
1|Notes on Contributors|9
1|List of Figures|12
1|1 Perpetrating Selves: An Introduction|13
1|Part I Enactments and Bodily Performances|26
1|2 Leading Men a Merry Dance?: Girls as Sex Crime Perpetrators in Contemporary Pop Culture and Media|27
2|Staging, Costume and the Semiotics of Movement: Girl as Sex Crime Perpetrator in ‘Elastic Heart’?|28
2|Little Girls, Reality Television, Phallic Moms and Their Male Punching Bags|37
2|Conclusion|43
1|3 Embodying a Perpetrator: Myths, Monsters and Magic|48
2|Prelude: The Sceptre|48
2|Introduction|51
2|Loki: Myth, Monster, Perpetrator|54
2|Desired Potentials and Monstrous Imitations|58
2|Conclusion|64
1|4 The Making of a Dangerous Individual: Performing the Perpetrating Self—An Interview with Steve Pratt|70
1|Part II Narration and Textual Performances|91
1|5 Scripting the Perpetrating Self: Masculinity, Class and Violence in German Post-terrorist Autobiography|92
2|The Pre-perpetrating Self: From ‘Rebel Without a Cause’ to ‘Political Actor’|95
2|The (Non-)Perpetrating Self: Good, Working-Class Violent Masculinity|101
3|The Dilettante, the Joker, the Rogue: Terrorism as Fun|104
3|The Good Working-Class Guerilla Fighter: Violence as Honourable|107
2|Conclusion|111
1|6 Innocent Superspy: Contradictory Narratives as Exculpation in a Woman Apartheid Perpetrator Story|119
2|The Life of a Spy|123
2|The Docile Woman|128
2|The Spy I Love Not|132
1|7 ‘It’s My Destiny’: Narrating Prison Violence and Masculinity in the Shaun Attwood Trilogy|139
2|An Introduction: ‘Making’ Oneself Through Narrative|139
2|‘Hi, I’m Shaun from England’: Class and National Identity|141
2|‘Not for Sissies’: (Re)Writing Victimhood and Traditional Prison Masculinities|145
2|The ‘Most Graphic Version’: Extreme Violence and Protective Masculinities|150
2|In Closing: Life Lessons and Helping Others in the Digital Age|155
1|8 Intimate Enemies: Representations of Perpetrators in Literary Responses to the 1994 Genocide in Rwanda|161
1|9 ‘By Any Means Necessary’: Interviews and Narrative Analysis with Torturers—A Conversation with Dr. John Tsukayama|183
1|Part III Perpetration in the Museum|202
1|10 Selective Empathy in the Re-designed Imperial War Museum London: Heroes and Perpetrators|203
2|Museums of War|205
2|Empathising with Heroes and ‘Justifiable’ Violence|206
2|Re-framings: Collecting and Exhibiting Colonial Wars|213
2|Perpetrating Colonial Masculinities|215
2|The Ambivalent Nature of the Perpetrator and Its Self-Narration|217
2|Conclusion|221
1|11 Identifying with Mass Murderers? Representing Male Perpetrators in Museum Exhibitions of the Holocaust|226
2|Historical Agency and Perpetrating Male Selves|228
2|Abstract Structures as Perpetrators? Depersonalised Agency in the Zeitgeschichte Museum Ebensee|230
2|Individual Perpetrators: Powerful Men in the Holocauszt Emlékközpont, Budapest|234
2|Relating to Individuals: The Self as Active Agent in the Museo Diffuso, Turin|239
2|Conclusion|243
1|12 Managing Perpetrator Affect: The Female Guard Exhibition at Ravensbrück|249
2|Displaying Perpetrators at Ravensbrück|251
2|Ravensbrück: Past and Present|254
2|The Female Guard Exhibition|256
2|Gendered Food Testimonies: Dis-placing Perpetrator Memory|258
1|13 Curating Violence: Display and Representation—An Interview with Jonathan Ferguson and Lisa Traynor (Royal Armouries Museum, Leeds)|272
1|Index|291
1|Contents|6
1|Notes on Contributors|9
1|List of Figures|12
1|1 Perpetrating Selves: An Introduction|13
1|Part I Enactments and Bodily Performances|26
1|2 Leading Men a Merry Dance?: Girls as Sex Crime Perpetrators in Contemporary Pop Culture and Media|27
2|Staging, Costume and the Semiotics of Movement: Girl as Sex Crime Perpetrator in ‘Elastic Heart’?|28
2|Little Girls, Reality Television, Phallic Moms and Their Male Punching Bags|37
2|Conclusion|43
1|3 Embodying a Perpetrator: Myths, Monsters and Magic|48
2|Prelude: The Sceptre|48
2|Introduction|51
2|Loki: Myth, Monster, Perpetrator|54
2|Desired Potentials and Monstrous Imitations|58
2|Conclusion|64
1|4 The Making of a Dangerous Individual: Performing the Perpetrating Self—An Interview with Steve Pratt|70
1|Part II Narration and Textual Performances|91
1|5 Scripting the Perpetrating Self: Masculinity, Class and Violence in German Post-terrorist Autobiography|92
2|The Pre-perpetrating Self: From ‘Rebel Without a Cause’ to ‘Political Actor’|95
2|The (Non-)Perpetrating Self: Good, Working-Class Violent Masculinity|101
3|The Dilettante, the Joker, the Rogue: Terrorism as Fun|104
3|The Good Working-Class Guerilla Fighter: Violence as Honourable|107
2|Conclusion|111
1|6 Innocent Superspy: Contradictory Narratives as Exculpation in a Woman Apartheid Perpetrator Story|119
2|The Life of a Spy|123
2|The Docile Woman|128
2|The Spy I Love Not|132
1|7 ‘It’s My Destiny’: Narrating Prison Violence and Masculinity in the Shaun Attwood Trilogy|139
2|An Introduction: ‘Making’ Oneself Through Narrative|139
2|‘Hi, I’m Shaun from England’: Class and National Identity|141
2|‘Not for Sissies’: (Re)Writing Victimhood and Traditional Prison Masculinities|145
2|The ‘Most Graphic Version’: Extreme Violence and Protective Masculinities|150
2|In Closing: Life Lessons and Helping Others in the Digital Age|155
1|8 Intimate Enemies: Representations of Perpetrators in Literary Responses to the 1994 Genocide in Rwanda|161
1|9 ‘By Any Means Necessary’: Interviews and Narrative Analysis with Torturers—A Conversation with Dr. John Tsukayama|183
1|Part III Perpetration in the Museum|202
1|10 Selective Empathy in the Re-designed Imperial War Museum London: Heroes and Perpetrators|203
2|Museums of War|205
2|Empathising with Heroes and ‘Justifiable’ Violence|206
2|Re-framings: Collecting and Exhibiting Colonial Wars|213
2|Perpetrating Colonial Masculinities|215
2|The Ambivalent Nature of the Perpetrator and Its Self-Narration|217
2|Conclusion|221
1|11 Identifying with Mass Murderers? Representing Male Perpetrators in Museum Exhibitions of the Holocaust|226
2|Historical Agency and Perpetrating Male Selves|228
2|Abstract Structures as Perpetrators? Depersonalised Agency in the Zeitgeschichte Museum Ebensee|230
2|Individual Perpetrators: Powerful Men in the Holocauszt Emlékközpont, Budapest|234
2|Relating to Individuals: The Self as Active Agent in the Museo Diffuso, Turin|239
2|Conclusion|243
1|12 Managing Perpetrator Affect: The Female Guard Exhibition at Ravensbrück|249
2|Displaying Perpetrators at Ravensbrück|251
2|Ravensbrück: Past and Present|254
2|The Female Guard Exhibition|256
2|Gendered Food Testimonies: Dis-placing Perpetrator Memory|258
1|13 Curating Violence: Display and Representation—An Interview with Jonathan Ferguson and Lisa Traynor (Royal Armouries Museum, Leeds)|272
1|Index|291