Storytelling: Armenian Family Albums in the Diaspora

Naguib, Nefissa

doi:10.1080/08949460801986228

Cited by 16 publications

(7 citation statements)

References 5 publications

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“…Whilst Kunimoto and Naguib each describe how the gaps in time are filled in the displaced people's photograph albums that they analysed, they do not comment on the broader temporal structure of the photograph albums or collections, and there is an implicit assumption that the albums follow a progressive linear temporal order, reflecting a common understanding in the broader family photography literature. The people in Kunimoto's (2004) and Naguib's (2008) respective studies were displaced in very difficult and traumatic circumstances and a more fitting comparison for Parvin's albums may be Thomson's (2011) study of the family albums of women who migrated from Britain to Australia in the mid-twentieth century. Thomson found that the women compiled photo albums to 'picture themselves as they responded to new circumstances and changed over time', and he cites one mother in his study as stating that her family albums were 'a chronological record of us' (173).…”

Section: Parvinmentioning

confidence: 98%

“…Studies of family photographs of displaced people (Kunimoto 2004;Naguib 2008) have found that people inserted other pictures and texts -including postcards of famous musicians and actors, found photographs of strangers and newspaper clippings -into their albums to fill the gaps left by periods of transition, instability, trauma and separation from loved ones. Drawing on this literature, I asked Parvin whether the mixed configuration of her post-migration photograph collection was a way of filling some gaps in her story due to difficult times that may not have been photographed.…”

Section: Parvinmentioning

confidence: 99%

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Exploring subject positions and multiple temporalities through an Iranian migrant mother's family photograph albums

Pitt

2014

Gender, Place & Culture

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In this article, I draw on a research study of one Iranian migrant mother's generation of selves through her material configuration of her personal photograph albums and through our verbal reading of her photographs. The research engages in a visualmaterial feminist ethnographic approach, and is informed by the work of Gillian Rose and the understanding that family photographs are a means by which women negotiate subject positions. In this article, I discuss an unexpected finding of my research, the significance of multiple temporalities in a migrant mother's production of selves. The photo album practices of the participant mother of this study, 'Parvin', depart from the common social convention of mothers arranging their photograph albums to chart family growth following the model of milestones occurring over linear developmental time. Parvin does not limit herself to linear developmental time, but rather she mixes up photographs in her post-migration family albums to generate multiple temporalities woven together by an enveloping 'mixed' time. Drawing on both Julia Kristeva and Homi Bhaba's theories of temporality and the subject, I suggest that Parvin produces subject positions for self and family through a continual interweaving of a multitude of pasts into the present and through a subsuming of milestones within cyclical family time. Further, I suggest that through her generation of multiple temporalities, Parvin produces the subject position of 'accommodating mother'. Finally, I highlight the potential afforded by considering the temporal and the spatial together in studies of migrant identity.

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Section: Parvinmentioning

confidence: 98%

Section: Parvinmentioning

confidence: 99%

Exploring subject positions and multiple temporalities through an Iranian migrant mother's family photograph albums

Pitt

2014

Gender, Place & Culture

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“…In general, scholars agree that such objects constitute powerful narrative devices. For example, there is a growing body of scholarship on personal belongings (including photographs and other keepsakes) rescued by genocide survivors, which shows how things can activate oral performance and offer a window into a transgenerational and transnational memory of the event (Hirsch and Spitzer, 2006; Naguib, 2008). Objects ‘touched by beloved hands’ can also provide a tangible connection with the killed.…”

Section: Objects In the Aftermath Of Violencementioning

confidence: 99%

Introduction: The Surviving Thing: Personal Objects in the Aftermath of Violence

Dziuban

Stańczyk

2020

Journal of Material Culture

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Mass violence leaves behind a trail of destruction. Similar to people, things also fall victim to displacement and armed conflict. Possessions swap hands, get voluntarily or forcefully relinquished, exchanged for food and shelter, hidden away, entrusted to friends and neighbours for safekeeping, or brought along into forced exile. Objects find their way to mass graves too, in the pockets and bodily orifices of the killed, on the fingers and wrists of the dead. In times of war, things are also made in response to economic scarcity and deprivation. Produced from waste and debris, such objects come to serve as mementoes, reflecting prison or frontline experiences and attesting to the hardships of the time. In the aftermath of war and conflict, things are often rescued by survivors or the families of victims, inherited, retrieved by forensic experts, or looted from war graves. The surviving thing is mobilized in art practices and storytelling, displayed in museums, or called forth to testify in judicial proceedings. Whether as trophies, souvenir, or evidence, things remain imbued with affect, permeated with memories (both actual and constructed), and burdened with conflicting narratives of the past. 1 This special issue investigates the role of objects in European histories and legacies of war, genocide and forced migration. Combining expertise in anthropology, forensic archaeology, cultural geography, history, and cultural and memory studies, the articles explore how rescued, looted, misappropriated, abandoned, found and recovered things live on in the aftermath of mass violence. Based on a broad range of cases and geographical contexts, from Spain to France, Italy to Poland, this issue looks at material, symbolic and political practices around surviving things and traces their trajectories in post-conflict settings. The authors show that personal objects are endowed with various qualities

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“…On the one hand, from the researcher to the interviewee, by showing images and subsequently (2000) refers to the value of kin pictures for the family collective memoir in a similar methodological way to Christian (2012) alluding to the relevance of images for the study of collective religious experiences. Likewise, the family album becomes a medullar device for life stories and the past-present reinterpretation of biographies (Naguib 2008), as well as the study of emotional responses to research enquiries (Samuels 2004), the provision of evidence for theory (Twine 2006) or self-representation strategies (Vivienne and Burguess 2013), among other fields.…”

Section: Pictures Collections and Family Albumsmentioning

confidence: 99%

Imaginarios situados: contribuciones del análisis audiovisual a la comprensión de la adopción

Rebollo

2017

Rev. Dialectol. Trad. Popul.

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SUMMARYIn this article, I inquire about the kind of new knowledge audiovisual insights could provide in the field of International Adoption studies, and how these outcomes could give rise to new ways of approaching that subject. In doing so, I tackle the centrality of cultural imaginaries in International Adoption and the prolificacy of audiovisual research in anthropology to gain a better understanding. Hence, I consider adoptive itineraries as culturally situated contexts that render folk ideologies visible and may become foundational imaginaries that demand the encompassment of academic research with a more general ethnographic comprehension of such cultural representations and ideologies.Key words: Audiovisual Research; Anthropology; International Adoption; Adoptive Imaginaries. RESUMENEn este artículo reflexiono acerca de los nuevos conocimientos que la investigación audiovisual podría aportar al ámbito de los estudios en adopción internacional y en cómo sus resultados pueden iluminar nuevas formas de aproximarse al problema. Para ello, parto de la centralidad de los imaginarios culturales en la adopción internacional y de la fecundidad de la investigación audiovisual en antropología para su mejor comprensión. De este modo, considero los itinerarios adoptivos como contextos culturalmente situados que visibilizan ideologías populares y pueden devenir imaginarios fundacionales que reclaman la imbricación de la investigación académica con una comprensión etnográfica más general de estas ideologías y representaciones culturales.

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Storytelling: Armenian Family Albums in the Diaspora

Cited by 16 publications

References 5 publications

Exploring subject positions and multiple temporalities through an Iranian migrant mother's family photograph albums

Exploring subject positions and multiple temporalities through an Iranian migrant mother's family photograph albums

Introduction: The Surviving Thing: Personal Objects in the Aftermath of Violence

Imaginarios situados: contribuciones del análisis audiovisual a la comprensión de la adopción

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